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Adding details to the panels

From: Game Prop Creation in Maya

Video: Adding details to the panels

In this video I'll add some detail into the panel where the dials are. I'll zoom in and make some new layers for them to have their bumps. I'll turn off the color and turn of the specular color as well, opening up the bump group, and I'm going to make another new layer. If you notice, it made my layer outside of that group. If that happens, you can always take that layer and drag it into the group and then pull it up to where you need. I'm going to grab it, pull it up to the top, and I'll name this one dials. I'll go back and take a look at the reference and see what I need to make.

Adding details to the panels

In this video I'll add some detail into the panel where the dials are. I'll zoom in and make some new layers for them to have their bumps. I'll turn off the color and turn of the specular color as well, opening up the bump group, and I'm going to make another new layer. If you notice, it made my layer outside of that group. If that happens, you can always take that layer and drag it into the group and then pull it up to where you need. I'm going to grab it, pull it up to the top, and I'll name this one dials. I'll go back and take a look at the reference and see what I need to make.

It's a little fuzzy, but really, what it looks like is that it's a fairly flat panel. There is just some small rectangular recesses in here and maybe a couple of rusty rivets. It doesn't hurt to add on some extra detail. What I'll also do is go look at some other gas pumps and see if it's in the right direction or if I need to add more to it. These gas pumps have glass in them, so that's not really a good indicator. This one's a little better. It might be a different gas pump, but we can see how these need to recess. It's actually got some kind of fold going on here, and then these dials are punched from the back so it sticks out slightly, and then these are removed and the dial rotates within it.

I'll probably do something like this so it's got a little extra surface to it, and I'll see if I can add in some small dots for some screws. Don't be afraid to add in some detail. This is the kind of thing that we stand a chance of, well, standing very close to. Remember, in a game our controller, is a little bigger than person height. In Unity, the default controller is 2 meters high, so we can get very close to this gas pump, so we need the detail in the dials correctly. What I'll do to start out is make a new marquee. This is going to be for the pop-out where the dial themselves are.

I'll zoom in, and in that marquee I'm going to put a gradient. Here is a trick though. There is a four-corner gradient, and what this gives me is that. It's actually what I want, but I need to stretch it, and here's how this will work. Instead of a rectangular marquee, I'm going to draw a square, pressing M for marquee and clicking and dragging while holding Shift. I'm going to land my four-corner marquee in here and then start to stretch it. I'll eyedropper that base color. Remember that even though this is all the same color, this polygon is actually recessed, so I don't need to darken the panel polygons.

Back here in my marquee then, once I've eyedroppered my base color, I'll hit X to swap colors and then pick the foreground and make it a little bit brighter. That's going to help these pop out. I'll press G for gradient and go in the center of the square, hold Shift, and drag that gradient out. There is my four-corner gradient. If it takes couple of tries to draw it right, that's okay. I'll draw it one more time, and it looks pretty good. It's on a separate layer, so what I'm going to do now is draw in a new marquee and grab half of it.

I'll make sure my marquee is right on the center, or as close as I can. I'll hit V to move and drag it over. I'm going to spread this out so it looks like that piece of folded metal. Now I'm going to take these center polygons and start to clone them. I can either do this with another gradient or I can do it by grabbing and pulling and cloning. We've got any number of ways to do this. I'm going take one polygon here, hold Alt, and nudge. While I'm nudging, it's cloning. I'll keep doing this and holding Alt and nudging just to clone it along here. It's fairly fast.

I can do this fairly nicely, and I know I'm getting an exact match versus making a new gradient that might be just a little bit off. Because I'm using a marquee selection on those pixels and I'm nudging them over, it's staying on that same layer. I'll deselect, zoom out, zoom in again, and see if I'm in the right place. It looks like it could be just a little bit bigger here. I'll press Ctrl+T and with this selected, grab right on the corner. I'll Shift and scale this out just a touch, maybe just a little bit on the vertical, and I'm in good shape.

Now I'm going to punch out the dials. I'll press M for marquee. What I am actually going to do on this is draw a separate piece and hit it with a darker color. I'll pick my foreground, drop in a much darker gray, and hit G, but G doesn't take me to the paint bucket. Remember that G is mapped too both gradient and paint bucket, so I'll fly out the gradient and pick the bucket. I'll put that in and Hit V for Move. I'll move this into the right place. Here's one and holding Alt to clone, there's 2, 3, and 4.

My dials are in the right place. They pop out of the surface in their metal and then they recess in. Now I can take this whole thing and move it to where it needs to be. I'll check the reference. This one has it in the middle. The one I'm using has it kind of off to this side. I'm going to leave mine off to this side, so I get some writing, or what at least what it appears to be over here. This one also has two of those, one for the gallons and one for the dollars and cents. I'll take this dials layer, press M for marquee, and select all of what's on that layer.

Hit V to move and hold Alt and clone this up. Now what I'll do is deselect and just select and delete a little bit of the cents dials. They're a little shorter in the reference. I'll zoom out and see how this looks. It looks like I'm ready to start my on color. I do still need to move his trim over, so I'll move it over and make sure it's in the right place. Here's how I'll do this, and I'll update the PSD afterwards. What I'll do is pick a face--let's say the front here where this trim needs to go--and I'll add to that selection a little bit.

I'll press F3 to go to my UVs, and under Edit UVs, go back into my Texture Editor. In the editor, I can see which ones are which. Those chosen on the top are actually the top of the front. It looks like I need to just move this up a little bit. I can tell just by selecting which pieces are which. This is the front, and over here this is the top. One of the things is important to do is to pick different faces and say, where do they show up on the model? This is actually the front of the top, or the back depending on how I want to look at it.

And I want to make sure that I'm putting this in the right place. I'll check the reference and move the trim strip just a little. I'll zoom in, and it looks like I just need to move it up a bit. I'll right-click on it and there it is, called trim copy 2. I'll pull this up, and now it's in the right place. What I'm going to do is to save this PSD as 02_05_end. Then I'll go back and replace it in Maya and see how it looks. Back here in Maya I'm going to go back to Object mode and pick the object.

I'll go into those textures for specular and color and bump and swap out the right PSD, 02_05_gas_pump_end, clicking on the bump layer and picking the right one. I'll pick the pump. I'm going to click on the color texture in that gas pump material and click on that file node. I'll go find 02_05_gas_pump_end. The PSD updated. Again, it brought in the transparency. It looks like I can move down the trim strip just a bit, but this one's in the right place.

The vents are in, and there's the dials in the middle of this recess. Because it's recessed geometry, I don't need to worry about it in the bump. I'm ready to get the color on, starting out with the clean gas pump and then adding rust and general wear and tear.

Show transcript

This video is part of

Image for Game Prop Creation in Maya
Game Prop Creation in Maya

90 video lessons · 6149 viewers

Adam Crespi
Author

 
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  1. 7m 22s
    1. Welcome
      43s
    2. Using the exercise files
      1m 35s
    3. What you should know before watching this course
      23s
    4. Setting up the workflow
      4m 41s
  2. 46m 16s
    1. Overview of modeling a large prop and planning for modular textures and models
      6m 53s
    2. Blocking out the overall form
      6m 14s
    3. Adding curved panels
      3m 26s
    4. Rounding the corners
      6m 46s
    5. Unwrapping the face frame
      6m 39s
    6. Unwrapping the sides
      5m 8s
    7. Moving and sewing UVs
      5m 23s
    8. Laying out the UV coordinates
      5m 47s
  3. 1h 50m
    1. Overview of the texturing process and PSD networks
      4m 43s
    2. Creating a bump map for the sides
      10m 55s
    3. Adding details to the bump map
      8m 6s
    4. Drawing the bump map for the front
      7m 51s
    5. Adding details to the panels
      7m 45s
    6. Painting the diffuse texture and planning the layers
      3m 35s
    7. Painting the base coat and the logo
      5m 24s
    8. Adding labels and other markings
      10m 45s
    9. Adding soft rust
      8m 32s
    10. Adding rust bubbles
      8m 58s
    11. Setting up a library of gas pump textures
      6m 40s
    12. Painting dirt and rust variations
      5m 23s
    13. Weathering away the paint
      5m 1s
    14. Converting bump maps to normal maps
      5m 36s
    15. Testing the maps
      11m 8s
  4. 1h 28m
    1. Overview of modeling small props
      1m 59s
    2. Modeling a sledgehammer
      6m 11s
    3. Modeling a pry bar
      6m 26s
    4. Adding detail and hardening edges
      5m 28s
    5. Unwrapping as part of building a texture sheet for small tools
      8m 27s
    6. Modeling a metal ladder
      8m 51s
    7. Unwrapping and cloning
      8m 46s
    8. Placing the clean texture
      8m 39s
    9. Laying out a texture sheet for multiple tools
      8m 37s
    10. Painting rusty steel
      7m 46s
    11. Adding dirt and wear
      5m 42s
    12. Planning for optimal texture usage
      7m 37s
    13. Painting dirt and age variations
      3m 42s
  5. 1h 45m
    1. Modeling furniture using simple parts and reusable textures
      2m 53s
    2. Planning and analyzing the modeling of a chair
      4m 56s
    3. Blocking out the basic form
      8m 24s
    4. Adding detail and softening edges
      6m 42s
    5. Refining the silhouette
      12m 9s
    6. Blocking out the form of a round chair
      7m 39s
    7. Adding detail and softening the edges of a round chair
      5m 20s
    8. Unwrapping as part of building a texture sheet for furniture
      14m 36s
    9. Planning the modeling of a table
      3m 14s
    10. Blocking out the basic table form
      4m 41s
    11. Adding legs to the table
      7m 6s
    12. Breaking up the model for texturing
      7m 55s
    13. Laying out the wood texture
      9m 29s
    14. Reusing parts to make a round table
      10m 12s
  6. 39m 23s
    1. Understanding the importance of painting textures from scratch
      2m 9s
    2. Creating the initial grain lines
      4m 43s
    3. Adding value variation across the grain
      2m 22s
    4. Warping the grain
      2m 50s
    5. Adding knots
      4m 27s
    6. Colorizing the grain and planning for stains
      6m 53s
    7. Cutting out boards for a UV layout
      5m 26s
    8. Adding patina and wear to a final texture
      10m 33s
  7. 1h 2m
    1. Understanding the importance of a low poly count
      4m 46s
    2. Overview of normal maps
      9m 26s
    3. Overview of the high-poly projection pipeline
      3m 10s
    4. Planning the UV space for projection
      5m 29s
    5. Working with hard edges and subdividing
      7m 22s
    6. Adding details by beveling and extruding
      6m 50s
    7. Fixing geometry
      7m 39s
    8. Using the Sculpt Geometry tool and soft selection to add dents
      9m 32s
    9. Baking the high-poly model onto the low-poly model to produce a normal map
      8m 21s
  8. 51m 4s
    1. Overview of Mudbox
      4m 26s
    2. Preparing for a smooth export to Mudbox
      7m 43s
    3. Importing from Mudbox: Choosing the right resolution
      5m 9s
    4. Using the sculpt tools
      8m 30s
    5. Painting
      8m 58s
    6. Exporting paint layers from Mudbox
      1m 35s
    7. Extracting and exporting a normal map from Mudbox
      6m 2s
    8. Importing and assigning objects and maps in Unity
      8m 41s
  9. 41m 4s
    1. Overview of ambient occlusion and specularity
      5m 55s
    2. Setting up ambient occlusion as a texture
      7m 3s
    3. Using ambient occlusion as a foundation for dirt
      6m 44s
    4. Using ambient occlusion as a foundation for rust
      10m 5s
    5. Painting a specular map
      6m 48s
    6. Streamlining the import process: Placing maps in the right channels
      4m 29s
  10. 21m 46s
    1. Overview of importing into Unity
      3m 15s
    2. Preparing and exporting props to Unity
      7m 54s
    3. Cloning props in Unity with different looks
      5m 21s
    4. Adding lights to test smoothing and textures
      5m 16s
  11. 22s
    1. Next steps
      22s

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