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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.
To start up painting wood grain. I'll need a new document. I'll press Ctrl+N and make a new document here in Photoshop. In the New document settings, I'm going to establish the basic grain. What I will do is put that in and then blow it up, smearing the grain gently. I'll start out with a new document, maybe 1500 square. I'm going to run this at 72, which is my default for textures. Anything higher than 72, really doesn't apply, as screen resolution is always 72 pixels per inch.
8 bit is fine, Transparent background is good enough and RGB Color. I'm also running this at Square Pixels. If you are going into a game that accepts a Color Profile, or if you'd like to use it across in Maya if you're doing rendering as an example, you can specify a Color Profile for your texture and then make your game and also Maya see this color profile using the Color Profile settings. I'm going to leave it alone at the sRGB it's set to. I'll click OK. I'll start up by filling this with a 50% gray, pressing Shift+F5, and in the Fill Contents choosing 50% Gray at a Normal 100%.
Now I'll put some grain in, choosing Filter > Texture > Grain. I'll use a Vertical Grain, and I'll set the Contrast fairly low with a decent intensity, somewhere in there, looks pretty good so that I have got gray to gray instead of black and white. I'll click OK. Now I'm going to add some Motion Blur on this. I'll choose Filter > Blur > Motion Blur, and as we have seen in previous videos, the Motion Blur smoothes out the dots in the grain.
What I would like to do is make sure this distance is not terribly big, maybe between 10 and 15, and that way the dots and the wave in the grain leaves a little bit of a wave in the wood. It's not perfect, although it's exactly straight. With a grain created, I'm ready to add in some variation, and I'll check out the reference to make sure I'm on track. In this wood, Wood02, I can see I have got variation in direction. I have got loops, whirls, swirls and all kinds of pieces, and I have got variation in the width of the grain.
Wood03 is very consistent where it's a very straight wood. Wood04 is probably a pine or a fur. And what we tend to see is that the grain really varies in width across each board and then those things like knots and otherwise that add in local variation. Wood05 has large variation across the grain, color variation as well as the loops and swirls. What I'm going to do is use the Liquify tool first, to vary the grain in width, I'll choose Filter > Liquify.
What I'll do is press Z to zoom out, hold Alt and click once so I can see the top and bottom of my image. I'm going to use the Bloat tool and what I'll do is take the Density and Rate way down. If you're working with a pen, take your pressure down as well. I'll try this at 5 and 5. I'm going to make it bigger, too, by using the brackets, probably somewhere in the 130 to 150 range is fine. We can't use Shift to constrain direction, but what I'm going to do is try to hold my hand as steady as I can.
I'll drag down here and open up that grain structure, keeping it as uniform as possible. I'll come back to the top and go right off the edge. I don't mind a little pinch right there, it looks fairly natural. I'll do this a few more times adding a variation across the grain. If your hand happens to wiggle too much, don't worry, hit Ctrl+Z and undo and try it again. It may take a couple of times to get this fairly even. I have added in a couple of bloats, and I'm going to upsize the brush and try a few more.
The big deal here is to add in some local variety in the grain. Occasionally, we see wood that is waney. It's a growth ring pattern. I can always come back and reconstruct if I need, and I don't mind if occasionally it pinches or twists. I'll hit OK. Now I have got the grain in place with some local variation. I'll upsize this image, pressing Ctrl+Alt+I, and making the width, let's say 4000 square. The reason to do this is to ask Photoshop to interpolate new pixels to make up new data.
What that does is it softens out that grain, blurring it slightly without simply adding a blur on, and makes it a little less precise in the remaining grain lines. With my grain in place, I'm ready to add in value variation as well, which I'll do in the next video.
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