Game Prop Creation in Maya
Illustration by Mark Todd

Adding dirt and wear


From:

Game Prop Creation in Maya

with Adam Crespi

Video: Adding dirt and wear

In this video I'll look at adding some dirt and wear to my texture sheet. What I've done here is revised the rust and added the hammer rust on as well. I started out with a new document for making the rust on the wrought iron, trying at it 6,000 square instead of 3,000. I've repeated the process on the hammer, trying a giant document and taking out little bits with the magic wand to give me that speckled rust texture. I've laid this over as a Multiply, and we can see here in this layer 3, it's actually very, very bright orange.
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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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Watch the Online Video Course Game Prop Creation in Maya
9h 33m Intermediate Aug 20, 2012

Viewers: in countries Watching now:

Explore the world of modeling and texturing 3D game props and assets in Autodesk Maya. Author Adam Crespi provides strong technical modeling techniques, from blocking basic forms and leveraging simple parts and reusable textures, to simulating real-world detail like dirt, wear, and grain with UV maps and ambient occlusion. The course includes workflow and integration considerations such as planning UV space for projection, and also steps into Mudbox and Unity for further refinement.

Topics include:
  • Planning for modular textures and models
  • Blocking out the overall form of a prop
  • Moving and sewing UVs
  • Laying out UV coordinates
  • Texturing with bump maps
  • Converting bump maps to normal maps
  • Unwrapping and cloning objects
  • Breaking up a model for texturing
  • Painting textures from scratch
  • Adding detail with beveling and extruding
  • Baking high poly model onto a low poly model
  • Painting in Mudbox
  • Importing and assigning objects and maps in Unity
  • Adding lights in Unity
Subject:
3D + Animation
Software:
Maya Unity 3D
Author:
Adam Crespi

Adding dirt and wear

In this video I'll look at adding some dirt and wear to my texture sheet. What I've done here is revised the rust and added the hammer rust on as well. I started out with a new document for making the rust on the wrought iron, trying at it 6,000 square instead of 3,000. I've repeated the process on the hammer, trying a giant document and taking out little bits with the magic wand to give me that speckled rust texture. I've laid this over as a Multiply, and we can see here in this layer 3, it's actually very, very bright orange.

But when it multiplies over, I get a speckled rusty hammered finish. I'll rename this and call it Hammer rust. Now I'm ready to work on some dirt and wear. I still need to get a woodgrain going in here, but I need to get some uneven dirt going. If I put this on, it's going to look too clean. Yes it's rusty, but especially on the hammer handle and on the ladder here. I need to paint in some dirt. What I'll do is go back and refresh myself, looking at the UVs and seeing where they are stacked here for the ladder. With the ladder selected I'll go and look at the Texture Editor.

The big face is off to the side, so it's really on the left side that I could add in some dirt. Alternately, I've got some places for a texture break, as the ladder has different sides of this extruded section. So really I could add in some dirt, and it's okay if there's a slight mismatch because this face here will get differently dirty than that one. I'll paint some in and see how it looks. I'll start out a new layer and I'll name this one Ladder dirt. I probably need to go through and do some grouping in here of my other layers. I'll drag Ladder dirt into the Ladder Diffuse.

Then I'll pick my hammer layers and group them, pressing Ctrl+G. I'll rename this group Hammer. Finally, I'll pick the Wrought iron of the Rust and group them. I'll name this one Prybar. I'll drag the Wood into the Hammer and I'm all set. You can see here again--and I can't stress this one enough--how much an organized workflow helps, because making changes becomes very easy. Now I'll look at the ladder, and there is a new layer, Ladder dirt, with nothing on it. I'll pull it up to the top and go back and look at the reference and see how these ladders get dirty.

I'll press Ctrl+O and go over to the Reference folder. Here in Reference Images I've got my ladders. This looks like a good example. I'll open it up in see what I can see. It looks like generally they get cloudy, we'll call it, That they may have some wear and tear here and there, but really, it's generally cloudy with some long darkness in the corners, maybe some dust or dirt that accumulates. I'm going to brush in some dirt. I'll press B for brush, and I'll eyedropper some of that ladder color. This way I've got a match into it.

I'll click on my foreground color and darken it, maybe bringing up the Saturation just a touch for a little bit of color and swinging that Hue over. I'm going to make this dirt green brown we'll call it. If you notice in mixing colors I tend to use HSB: Hue, Saturation, Brightness. I find that for my colors I'd rather play with brightness and saturation and keep them actually quite muddy, building up layers over time of dirt and wear and so forth, then looking at the Hue to get the color right. After while I find you start to learn what values work.

Sub 30 gets you well into the reds, 30 to 50 is orange through yellows, and above 50 is yellow green. This is going to give me a muddy yellow gray we'll call it. I'll hold Ctrl and click on the layer 1 in the Ladder section, Press B for Brush, and set my brush as a very low-opacity Multiply. I'll bring down the size, using my square bracket, and I am going to lay down some dirt. Because this is a tiling map, I need to be careful of how I do this. I'll zoom out, pressing Z for Zoom and holding Alt. I want my document small, actually, so I've got room around it.

I'll go back to my brush by pressing B. I'll click outside of the image, hold Shift, and drag down. I'll lay in a couple of more stripes of this, adding in a line of dirt on one side. You can see I'm just building up a little bit of darkness here. The idea is that I'm holding Shift and keeping this vertical so it tiles seamlessly. I'm going to do the same over here, clicking and dragging, holding Shift, and making sure that this stays nice and vertical on the corners. That should be it for the Ladder dirt, and these are meant to hold up pretty well.

Barring a ladder being splattered and paint, we don't necessarily want to have it dirty in splotches, because it's a tiling map and we'll see those splotches repeat. I can do the same on some of my other elements. So occasionally, on a facet of, let's say the hammer or the wrought iron pry bar, I see some dirt in there. In that case--and I'll go into the Prybar group as an example, selecting the Wrought iron--I'm going to brush in dirt using black. I'll eyedropper one of the colors, and there is a near black. I'll make a new layer and brush in some dirt on one of the sides.

I'll bring up my Multiply Opacity just a little bit, and I'm going to brush in just a little bit here. This gives me a little bit of a fade, and it's okay to do because I've got the pry bar stacked in here. This means occasionally an element that touches this will be a little different in color from an adjacent face, which is true for that pry bar; it shouldn't be perfectly even. I'll try this out and see how it looks, first saving out the PSD and then saving out the flattened TIFF. Back here in Maya, I've deselected the ladder, and I'll go pick any object and swap out that material.

In the corners of the ladder and on some of the faces, I've got dirt going. I can see it's got a little bit of patina, just enough to be not clean. Then I'll go back and look at the pry bar and occasionally, I can see a little bit of a variation. It's working nicely. I'm ready to add in any other dirt and finally the wood grain for the handle.

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