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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.
In this video I'll look at adding more detail to the bump map on the front. I've got the rivets in on the side and the hole where the gas pump nozzle should be, as well as the vents. Now I need to put in the extra recess, as well as start to look at where the dials go. What I've also done is to update the PSD for this file. In the Gas Pump material, it now looks to the 02_04_start PSD. I'll go over to Photoshop and keep adding in detail. Here in Photoshop, I've got the 02_04_gas pump start PSD up, and I've turned on the Specular and Color maps so that I can see them when I update in Maya.
I'm going to look at the reference and see what's next to paint. And it looks like the things I need to paint next are the chrome trim up here, the light--or I think that's what that is--and then this recess. Maybe it's a missing panel or maybe it should be a sign or something, but I'm going to put it in as a piece of trim at least. I'll start out with this. This is a chrome band going across the front, so in the color it should look like metal, but really, I need to have the ribs in first. They need to go just above those UVs for those corners. A little bit of space will work, as long as it stays flat.
I'll press Z to zoom and zoom in on my top UVs. I'm going to land that strip right about here. I'll go into the bump and turn off those Color and Specular color groups as well. In the bump will make a new layer. It's okay to have lots of layers because Maya just looks to the layer set when you bring it in. I'll rename this trim. Now I'm going to make a marquee, pressing M for Marquee, and I'd like to have a Rectangular. What I'm going to do is draw one rib and then clone it. It's going to go right about here, above this recess where the dials are.
I'll click and drag and draw and a thin strip here--actually, a little bit oversize, as I can shrink it down after I draw the gradient. I'll zoom in and pick my gradient. What I'll do here is click on that gradient and just choose Foreground Background. This takes out the keys I'd put in instead of being a custom gradient, and just restores it to the colors I've got. I'm going to choose Reflected Gradient here, and I'll start this gradient from the middle and click and drag up by holding Shift. Looks like I'm backwards again because the Reverse tab is on.
I'll turn that off and try it one more time. There is a strip of that chrome. Now what I'll do is clone that and then get it in the right place. I'll deselect by pressing Ctrl+D. I'll hit V for Move and hold Alt and clone this. Notice that Photoshop is snapping those layers together for me. I'll clone twice, and it's giving the layers called trim copy, trim copy 2, and trim. I think what I'll do is I'll take these layers and space them out just a touch, just a couple of nudges here, picking both by holding Ctrl and nudging them up.
Now with those selected, I'll press Ctrl+E and I've got my trim layer. It's fairly big, as we can see here. I do need to shrink it down. What I'll do then is press V for Move, Ctrl+T for Transform, and shrink it while holding Shift to scale proportionally. That looks pretty good right there. It's about a match, maybe a little bit taller than the band on the side. I'll hit Enter to accept it, and now I'm going to move it over and get in the right place. Again, I'm going to clone it by holding Shift+Alt while I drag.
I don't really care that I'm making extra layers; I'm going to use them anyhow and smash them flat. I'll take this and merge these down, pressing Ctrl+E to merge those layers down into my trim. One last thing is I'm going to make a new layer and slide a color under the middle of it. I'll drag in a marquee and just fill this in something lighter than my gray, picking my foreground and reducing it slightly, pressing G, and clicking and holding on the gradient to flyout the paint bucket.
I'll fill that in and maybe just deepen it a touch. It looks like I need to make sure it's moved underneath as well. As long as you've got your layers managed decently, you are in pretty good shape to move stuff around. Now I can adjust this layer using Hue/Saturation, and I'll just play with the Lightness a bit. That the trim band, and it's working nicely. So we can see I've got my trim, and it sits right over there. I can always take this and make it a blending mode so it shows up correctly if I don't like the way it's looking. But I'm okay with it.
I can take out this layer, and there's that trim. I could just take this and brighten it up, pressing Ctrl+U, and again, bringing that up a little bit. I just want to make this a little bit brighter, so it sticks out of the surface. Now I'm ready to tackle the light and the other pieces. I'll zoom in, and I'm going to make a panel down here. What I'll do is use a marquee and refine the edge by rounding it before I put in a border or something similar to get a little bit of a round edge.
I'll make a new layer, and I'll drag in my rectangular marquee. I can always center it after I'm done, so as long as I've get the size right, I'm not terribly concerned exactly with where it is. That's one of the benefits in working in a layered workflow. I'll choose Select > Refine Edge. In the Refine Edge, I'll change the View mode over to On Layers and make it Marching Ants. Now I'm going to add in a radius, using the Radius in here and cranking that up until it looks right.
There is the Radius, probably somewhere in the six range; that will work nicely. A smart radius may give me a slightly different look. I'll click OK, and now I'm ready to fill this in a slightly darker color. What I'll do to produce a gradient around here that looks like it bevels in slightly is eyedropper that foreground color, press G for the paint bucket, and make sure I change that foreground color to something a little bit darker, let's say from 50 down to 48. I'll fill that in and contract the selection, choosing Select > Modify > Contract.
I'll pull it in by a couple of pixels and darken that color again, going from 48 down to 45. I'll do this one more time, adjusting the foreground color down to, let's say 40, and contracting the selection, choosing Select > Modify > Contract. I'll deselect by pressing Ctrl+D. Now I've got an inset here, and when I put the color on with stuff in there--I am not really sure what it is-- it should look like a recess piece into the gas pump.
I'll name this layer Recess and update that PSD and see how it looks. I'll make sure here, when I save, that I turn on the Specular and Color Maps, and I go and save this as a different version. I'll save it as 02_04_gas pump_end. I'll go back to Maya and swap in that new PSD and then update. I'm going to click on the color and go browse over to that end file. I'll go back up to the material and change the bump as well. If you saw there, it just put in that transparency for me again.
I'll go back and make sure I break this, right-clicking on Transparency and breaking that connection. I'll scroll down and update the specular color as well. There's the trim band, and it's working nicely. I've got a little but of a flicker to it, and I need to make sure it's in the right place; it looks like it's a little bit off. The recess looks good. It's got a neat edge to it, which is some kind of beveling in there. I do need to move that trim up, and I can start on the color and the panel as well. Also, I need to start painting in the general rusty color of my gas pump, and I'll do that in the next videos.
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