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Creating the initial grain lines

From: Game Prop Creation in Maya

Video: Creating the initial grain lines

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.

Creating the initial grain lines

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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This video is part of

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

90 video lessons · 6161 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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