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Drawing the bump map for the front

From: Game Prop Creation in Maya

Video: Drawing the bump map for the front

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.

Drawing the bump map for the front

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.

Show transcript

This video is part of

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

90 video lessons · 6381 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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