IntroductionWelcome| 00:04 | Hi! I'm Adam Crespi and welcome
to Creating Game Props in Maya.
| | 00:08 | In this course, we'll look
at modeling props for games.
| | 00:11 | We'll start with a good low-poly workflow
and explore unwrapping and stacking UVs.
| | 00:16 | We'll look at ways to paint textures
from scratch and apply them both as a
| | 00:20 | texture sheet and unique textures.
| | 00:22 | We'll explore digital sculpting in our
pipeline and look at the best way to bake
| | 00:26 | out ambient occlusion and normal maps.
| | 00:28 | Finally, we'll look at importing
into Unity, taking our props into a game
| | 00:32 | engine and seeing how they
work in light as we run around.
| | 00:35 | We'll be covering all these features
plus plenty of other tools and techniques.
| | 00:40 | Now, let's get started
creating some game props in Maya.
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| Using the exercise files| 00:01 | If you are a Premium member of the
lynda.com online training library, or if
| | 00:04 | you're watching this tutorial on a
DVD-ROM, you have access to the exercise
| | 00:08 | files that are used throughout this title.
| | 00:10 | In this course, there are four
folders that have the exercise files.
| | 00:14 | Game Props is a Maya project, and in
there are the default Maya folders.
| | 00:19 | We've got scenes for the scenes,
sourceimages for the textures, and renderData
| | 00:23 | for things like baked ambient occlusion.
| | 00:27 | Game Props Unity is a Unity project,
and in there are the default Unity folders
| | 00:31 | of Assets, Library, and ProjectSettings.
| | 00:34 | Inside we'll see folders for textures and
scenes, so we can be a little more organized.
| | 00:39 | In Reference Images, I've landed
reference images from Thinkstock.
| | 00:43 | I've also included a Finished Layouts
folder, where I've drawn on the reference
| | 00:47 | images to show different mesh lines.
| | 00:51 | Finally, there's a Working Textures folder,
and in here are working PSDs of raw images.
| | 00:57 | What these are are textures, not
necessarily attached to a particular material
| | 01:01 | or a set of UVs, but rather a large
raw image such as wood or steel that's
| | 01:06 | ready for use in an actual texture.
| | 01:08 | If you're working in Maya 2010 or later,
you can open up the files by choosing
| | 01:13 | Ignore Version in the File > Open dialog.
| | 01:16 | If you're working in Unity, make sure you
download the latest Unity build from unity3d.com.
| | 01:22 | If you're a Monthly member or Annual
member of lynda.com, you don't have
| | 01:26 | access to the exercise files, but you can
follow along from scratch with your own assets.
| | 01:30 | Let's get started and get
modeling our game props.
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| What you should know before watching this course| 00:01 | For this course, you should have
good working knowledge of Autodesk Maya
| | 00:04 | and Adobe Photoshop.
| | 00:06 | Knowledge of Mudbox is not
necessary, as I'll explain along the way.
| | 00:10 | You should have some knowledge of Unity,
| | 00:12 | although I will go through the basics on
importing and bringing objects into a scene.
| | 00:16 | If you'd like to use a tablet or touch-
sensitive monitor, you may, but you can
| | 00:20 | also do the painting with a mouse if needed.
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| Setting up the workflow| 00:00 | In this video, I'll look at the
workflow in Maya, Photoshop, and Unity I will be
| | 00:04 | using over this course.
| | 00:05 | I'll also explore how to set the project
file so Maya and Unity can find all of
| | 00:10 | the assets correctly.
| | 00:11 | For my workflow, I usually try to
minimize the UI as much as possible.
| | 00:15 | What I'll typically do is press
Ctrl+Spacebar and make that UI go away.
| | 00:21 | I'll rely on my hotbox, and I'll slim down that
hotbox to get the controls where I need them.
| | 00:26 | I'll press Ctrl+Spacebar to bring back
the UI, and you can really see a difference.
| | 00:31 | We're limited in how much view we have,
and I'd rather have more working viewport
| | 00:35 | than simply UI clutter.
| | 00:37 | First, I'll slim down the hotbox,
pressing and holding the spacebar for the
| | 00:41 | hotbox and choosing Hotbox Controls >
Show Polygons > Polys Only in this case.
| | 00:47 | This is the Polygons menu, and the tools
here are geared towards working in polygons.
| | 00:52 | I'll hold Shift and right-click and
access the marking menu for polygon creation.
| | 00:56 | I'll choose PolyCube, noting that
Interactive Creation is on, and click and
| | 01:00 | drag in my objects.
| | 01:02 | There's a cube. And it should go that fast.
| | 01:04 | I'll minimize elements of my UI
to give me more working space.
| | 01:08 | I'll leave the toolbox on, and I'll
leave the Status Line on at the top.
| | 01:13 | What I will do is press and hold the
spacebar for the Hotbox and click in the
| | 01:16 | space to the right of Maya.
| | 01:19 | I am going to turn off my Shelves and I also
have turned off the Time slider and Range slider.
| | 01:24 | I'm not animating in this course, and so I
don't need the timeline cluttering up the view.
| | 01:28 | I use Ctrl+A to toggle between
the attributes and channel box.
| | 01:33 | This way I can keep this
minimized and see attributes if I need.
| | 01:38 | I'll use my default hotkeys Q, W, E,
and R for Select, Move, Rotate, Scale are
| | 01:42 | some of the most important.
| | 01:44 | I'll also use F8 through 12 as my
function keys to access components in Maya,
| | 01:49 | such as Vertex, Edge, Face, and UV.
| | 01:54 | Finally, I'll use my other marking menus.
| | 01:56 | For example, holding Shift+right-
click gives me a modeling menu.
| | 02:00 | I'll insert an edge loop by clicking on an edge.
| | 02:03 | My tools are closed at hand, and very
quickly, I can model something and add to
| | 02:08 | it, preserving a good edge flow and not dashing
up to the top for my tools. It slows me down.
| | 02:14 | Not necessarily minutes or hours a
day, but it interrupts my chain of
| | 02:18 | thought, and I'd rather have my
thoughts be as transparent as possible
| | 02:21 | getting out into Maya.
| | 02:23 | Any way that you can streamline your
UI and make your tools fit your hands,
| | 02:27 | you'll get faster, and you'll
get a better model going quicker.
| | 02:31 | I'll go over to Photoshop as well, and look
at the way to customize there a little bit.
| | 02:36 | Here in Photoshop, we tend to have
a lot of palettes running around.
| | 02:40 | Typically what I'll do when I draw is
I'll start out a new document and press F:
| | 02:45 | once to take away the Windows UI
and once more to go full screen.
| | 02:49 | I'll use the Tab key to
take my menus off and on.
| | 02:53 | I'll press F one more time, and that
brings back the Tab menu system up at the top.
| | 02:57 | I'll toggle between these and use Ctrl+0
extensively to zoom extents in the drawing.
| | 03:03 | I'll also customize my layer palette,
dropping down in the options and
| | 03:07 | choosing Panel Options.
| | 03:08 | I've made my thumbnails large
so I can see what's going on.
| | 03:14 | I'll use my hotkeys extensively:
| | 03:15 | B for brush, V for move, M for
marquee, and G for the paint bucket.
| | 03:22 | This lets me get around quick and draw
fast, again getting my thoughts out here
| | 03:26 | as fast as I can make art.
| | 03:28 | In Unity, we can customize the UI somewhat,
choosing our display modes up here at the top:
| | 03:34 | Textured, Wireframe, or Textured and Wire.
| | 03:36 | We can also grab tabs and pull them
around as we need, so that we can see what we
| | 03:41 | need to when we need to.
| | 03:42 | We can even have floating or modeless windows.
| | 03:45 | I'll pull this back on, and now I've
got my project and inspector on the side,
| | 03:49 | and I can pull the
viewport down and see my game.
| | 03:52 | I'll also make sure to set
the project here in Unity.
| | 03:55 | I'll choose File > Open Project.
| | 03:59 | Unity looks towards the last projects,
and here is my Game Props Unity folder.
| | 04:03 | Right now it's working in the default
project folder it creates upon install,
| | 04:07 | set in Documents called New Unity Project.
| | 04:10 | Always make sure you go in and open the
project, and then you can open the scene.
| | 04:15 | The same is true in Maya.
| | 04:17 | Set the project and then open the file.
| | 04:20 | This way both programs can find the
textures that are associated with scenes,
| | 04:24 | and you won't get blank spots or missing files.
| | 04:27 | Things will work smoothly and you'd be
much happier with the game props you've got.
| | 04:31 | I'll go ahead and set this to the
Game Props Unity folder and get started
| | 04:35 | modeling my game props.
| | 04:36 | Now that we've got everything set up,
let's get started modeling props for games.
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|
1. Modeling a Large Prop: Gas PumpOverview of modeling a large prop and planning for modular textures and models| 00:00 | In this chapter, I'll look at
modeling large props for a game environment.
| | 00:04 | I'm going to model a rusty old gas
pump to go with my gas station that I've
| | 00:08 | modeled in my Game Environments for Maya course.
| | 00:10 | I brought up the gas station reference,
as well as some reference I've collected
| | 00:14 | for various gas pumps in
different states of repair or disrepair.
| | 00:18 | I'll start out by looking at the gas station.
| | 00:20 | I'll press Ctrl+0 in Photoshop
to zoom extents on that image.
| | 00:24 | This gas station has been around for a while
and has some gently Art Deco theme styling.
| | 00:29 | There's round corners in the canopy and
the straight lines and long windows are
| | 00:34 | horizontal, meant to evoke the feeling of speed.
| | 00:36 | We need to find a gas pump that
matches, as the existing gas pumps are now
| | 00:40 | missing from the island.
| | 00:42 | In place, there's a bush. That gives you
an indication of the age of this place
| | 00:45 | and how long it's been abandoned.
| | 00:48 | I've collected a gas pump reference on
the Internet, and there's a number of
| | 00:51 | different sites you can go to,
or you can generally search.
| | 00:54 | You may want to, when you're searching
for reference, add in terms like "gas pump"
| | 00:58 | and "rusty" or "gas pump" and "old" or
"abandoned" rather than simply "gas pump."
| | 01:03 | I've made sure in my reference that
I've collected details, as well as pictures
| | 01:07 | of the whole thing, and
looked at different styles.
| | 01:10 | I've got may be more modern from the 70s here
in Gas pump06, and fairly old ones here in B01.
| | 01:17 | I'll start up by looking at these and
see if they're going to be a good fit.
| | 01:21 | These might work nicely for my station.
| | 01:23 | I'll zoom in and see if they hold up.
| | 01:26 | They're Art Deco in style with a
waterfall side, a separate front panel,
| | 01:31 | and horizontal trim.
| | 01:33 | They've also got fairly intact dials,
and we can see at least where the
| | 01:36 | hoses and pump should go.
| | 01:37 | There's one over here on this one
even though it's leaning off to the side.
| | 01:43 | It's a good idea though to look at all
kinds of reference and cull down what you need.
| | 01:48 | This is another good candidate,
especially because it says Ethyl up at the top,
| | 01:52 | and the design is fitting our gas station.
| | 01:54 | It's got a shoulder up at the top.
| | 01:56 | This is a very Art Deco touch here, with
this two-step top and long chrome band.
| | 02:01 | This again might be a nice candidate,
depending on what kind of reference I can find.
| | 02:06 | It's also good to look at wear and tear.
| | 02:08 | Even though this might be a different
gas pump here, the amount of rust and
| | 02:12 | general decay of this is important.
| | 02:14 | We'll need it when we paint textures.
| | 02:17 | You can never have enough reference.
| | 02:19 | What we really need to do then is get a
bunch of reference and look it over, and
| | 02:22 | really understand not only gas pumps,
but how do they rust and what do they look
| | 02:26 | like after they've been sitting
out in the elements for a while?
| | 02:30 | These are decent, although I'm missing too
many pieces to really tell what's going on.
| | 02:36 | I've gone through my reference,
arranged it, and zoomed in on the gas pumps I
| | 02:40 | think I'm going to use.
| | 02:42 | What I need to figure out with a
model like this is how I can economize on
| | 02:45 | geometry and texturing.
| | 02:47 | Here's the big deal with large props.
| | 02:48 | It's very difficult to see
more than three sides at once.
| | 02:52 | As you can see with the gas pumps,
we can see one front and one side, and maybe
| | 02:56 | something that sticks off the other side,
but we can't see both sides of one gas pump.
| | 03:01 | We can also barely see the top and
definitely see the front, or we could probably
| | 03:06 | stand way up high and see the
top but not the front or side.
| | 03:09 | Here's the other thing to consider.
| | 03:11 | If you're dealing in props,
will there be more than one?
| | 03:14 | As an example, we can see two
gas pumps here on this island.
| | 03:18 | It's very likely then that we can see
one side and the same side next to it,
| | 03:24 | so the textures need to be either a
seamless match or just different enough
| | 03:29 | or rotated around to make it look like they're
two different pumps instead of an exact clone.
| | 03:35 | However, they're manufactured to be alike,
| | 03:37 | so we have some advantage
there in matching geometry.
| | 03:40 | What I'll plan then is for a
modular texture and a modular model.
| | 03:44 | I know I'm going to make this and
duplicate it twice, and possibly four times,
| | 03:48 | depending on if I add
another island to my gas station.
| | 03:51 | A lot of times what I will do is
I'll make a new layer in Photoshop,
| | 03:55 | pressing Ctrl+Shift+N, and calling it
anything particular, pressing B for
| | 04:00 | brush. By the way, in Photoshop,
| | 04:02 | it's okay to do this to your tools, and
bring them up to a smaller strip on the
| | 04:06 | side instead of a long strip
that goes all the way down the view.
| | 04:10 | My brush settings reflect what I was
drawing earlier, and so I'm going to bring
| | 04:14 | this back up to normal at 100%.
| | 04:16 | Photoshop will keep settings for tools
until you use them again or change them.
| | 04:21 | Now on this layer, I'm ready to draw,
and what I will do is make sure I hit Escape.
| | 04:26 | That way Normal is not highlighted.
Use the bracket keys to downsize the brush
| | 04:29 | and start to draw out the mesh,
laying out the overall form.
| | 04:34 | I know I'm going to have a mesh line
here, and it's going to go up to the top
| | 04:38 | and across on the chrome, and down the side
here, so that's one big panel I'll need to make.
| | 04:44 | My suspicion is that I want some geometry
right across there to help outline the inset face.
| | 04:51 | I know I'll end up with a mesh line on
the side here and finally down at the base.
| | 04:55 | It's okay to spend a few
polygons here to get the form right.
| | 04:59 | As we can see, if I turn off this
layer, it's actually very curvy.
| | 05:03 | All the sides are gently curved.
| | 05:05 | So we don't want to make this just a
box, as it won't have that Art Deco look to
| | 05:08 | match the gas station. I'm going to need
to spend a few faces up on the top.
| | 05:13 | I'll probably end up with some kind of
geometry up here to help make this curve,
| | 05:18 | and then it needs to curve across the back.
| | 05:21 | Finally, I'll have some additional
mesh lines running down the side.
| | 05:24 | One of the things we need to plan,
especially in dealing in modeling and
| | 05:28 | texturing for games, is our polygon
structure, and making sure that subtle curves
| | 05:33 | look right without obvious facets.
| | 05:35 | A curve like this side, and yes, it is
curved, will most likely have at least
| | 05:39 | three or four polygons to make that curve,
so when I soften the edges, it looks correct.
| | 05:44 | I'm prepared to spend some polygons
up here on the top, because it's a very
| | 05:48 | visible piece, and I need to make
sure it looks curved like the original.
| | 05:51 | There is a good chance in a model like this
that it's going to be subject to an edge test,
| | 05:57 | and what that is is when an edge
is visible against another material.
| | 06:01 | As an example, I can see these gas
pumps clearly against the side of the
| | 06:05 | building, and that curve looks curvy.
| | 06:07 | So my model better be ready for that
kind of a test, especially since my gas
| | 06:12 | station, and I look back at the
reference here, is white, dirty, rusty, mossy or
| | 06:17 | moldy, but still white.
| | 06:18 | And so if my gas pumps are shown against
it, they're going to be in sharp relief.
| | 06:23 | So I'm going to plan out my pieces.
| | 06:24 | I'm going to model this in various
elements, fronts and sides, and try to put
| | 06:29 | them together so I can clone
side to side and front to back.
| | 06:33 | I'll try to do it in a way that my textures
show up rusty but not the same rust everywhere.
| | 06:39 | I'll see if I can do this on one
texture sheet and simply move around the
| | 06:42 | pieces for my gas pump.
| | 06:44 | I'll do this while trying to preserve
the curviness and fluid design of the
| | 06:47 | original, because matching the style of
the props to the environment is important
| | 06:51 | for the immersion in a game.
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| Blocking out the overall form| 00:00 | In this video, I'll block out the
basic form of my gas pump, laying down a
| | 00:04 | bounding box so I can model
inside it and avoid model creep.
| | 00:08 | What I've done so far is to redraw some
of the lines on my reference imagery here,
| | 00:13 | showing major mesh lines and areas I
know are going to need special attention,
| | 00:17 | such as the curves on the top, the
subtle curves of the side, and the mesh lines
| | 00:21 | across to get the numbers
and dials in the right place.
| | 00:26 | What I'll do is try to estimate the
height and width of this and make a box in
| | 00:30 | Maya that defines the overall volume.
| | 00:33 | Gas pumps are designed to be readable so
you can see how much gas you're getting.
| | 00:37 | So reasonably, we could say that this
gas pump is probably four and a half
| | 00:41 | to maybe five feet tall, as we need to
be able to stand here next to our car
| | 00:46 | and read these numbers.
| | 00:47 | Also, we need to be able to reach up
and put the pump nozzle back in without
| | 00:51 | reaching too far up or down.
| | 00:53 | I'm going to estimate this at 5 feet
tall, and I'm going to look at any other
| | 00:57 | markers in the scene
that let me know the height.
| | 01:00 | We actually have a built-in ruler here,
and it's called the board siding of the
| | 01:04 | building next to it.
| | 01:05 | Typically, clapboards like this
are 4, 6, 8, or maybe 12 inches tall.
| | 01:10 | We can tell the width and
height by gauging next to the window.
| | 01:14 | A lot of times this is a one-and-a-
half inch piece for the windowsill.
| | 01:18 | And if I estimate this at one and a
half and allow for some slight overlap in
| | 01:22 | the clapboards, we're probably
seeing 5 to 6 inches exposed.
| | 01:26 | The other gauge is the corner board here.
| | 01:28 | Roughly, this is probably 4 or 6 inches across.
| | 01:32 | Give or take at 6 inches, we're
looking at roughly 5 feet tall, eyeballing
| | 01:37 | the measurement across.
| | 01:38 | We can put it in and see if it works.
| | 01:40 | Remember, in Unity, the
default controller is 2 meters tall,
| | 01:44 | so we should be just tall enough to
look over the top of the gas pump.
| | 01:47 | If this is 5 feet tall,
it's probably 18 inches across and 16 or 18 deep.
| | 01:54 | I'll go into Maya and start
making a bounding box for my reference.
| | 01:58 | Here in Maya, I've minimized some of
my display components, as I've explained
| | 02:02 | in the workflow video.
| | 02:03 | I want to have as much
working real estate as possible.
| | 02:06 | I'll press Shift+Right-click, choose Poly
Cube, and make a poly cube, right around 0, 0.
| | 02:11 | What I'll do is press Ctrl+A to go to
the Channel Box; select Translate X, Y,
| | 02:17 | and Z by clicking and
dragging down; and put 0 in.
| | 02:19 | Then I'll go into the INPUTS in the
polyCube and put in the size I want.
| | 02:25 | I'll go into my preferences and make
sure my units are set correctly first.
| | 02:29 | On my Hotbox, pressing the spacebar, I'll go
to Window > Settings/Preferences > Preferences.
| | 02:35 | Under Settings, there is my Linear units,
and I was estimating in inches, so I'm
| | 02:39 | going to make my units Inches here.
| | 02:42 | We can work in any units we want.
| | 02:43 | When we export out, we'll convert to
Meters, but if working in inches or
| | 02:47 | centimeters or feet works, then work that way.
| | 02:50 | We can re-measure the object upon export.
| | 02:52 | Now I'll put in the width
and height and depth.
| | 02:55 | I'm going to say that the Width is 18
inches; the Height is 60, or 5 feet;
| | 03:01 | and the Depth is 16.
| | 03:02 | It's a little narrower than it is wide.
| | 03:05 | I'll press F to focus, and there is my object.
| | 03:08 | It's at 0, 0, and goes below the 0 plane.
| | 03:12 | What I'll typically do is put the
Translate Y up at half the height of the object,
| | 03:16 | in this case at 30.
| | 03:19 | The center of an object is always in the
center, and I'll press W to move to show this.
| | 03:24 | In this way, I'll keep this object
down at 0. Then if it comes in on a ground
| | 03:28 | plane at 0, it stuck to the
ground instead of floating in midair.
| | 03:32 | I typically model things starting at 0,
so upon import, they're automatically in
| | 03:38 | the right place on the Y axis.
| | 03:41 | Now with this bounding box in place,
I'll go into the INPUTS and add in a
| | 03:44 | couple of mesh lines for height markers.
| | 03:48 | I'll put my Subdivisions Height at 3.
| | 03:50 | This gives me two edge loops across,
and I'll go back to my reference and
| | 03:54 | estimate some heights.
| | 03:55 | Back here in Photoshop I'm going to
estimate some key height marks on my gas pump.
| | 04:01 | I'll turn on my layer 1,
and there is my mesh lines.
| | 04:04 | I've got a mesh line near the top,
right where this curve of the top starts,
| | 04:08 | and I'll show it by pressing V.
And I'm going to estimate that this is
| | 04:12 | probably 6 inches tall or so,
| | 04:14 | so I'm going to put a mesh line up there.
| | 04:15 | It's going to held bound where this
display is and also the curved top.
| | 04:19 | I'll also put another mesh line
maybe right here, just a little above the
| | 04:24 | halfway point, as I may end
up wanting to indent this part.
| | 04:27 | I'm going to estimate, if this is 60 inches
tall, that this mesh line is probably a 36.
| | 04:35 | Here in Maya then, with the object
selected, I'll press F10 for Edge,
| | 04:39 | double-click on an edge to select the
edge loop, and go up to my menu line input.
| | 04:44 | In the menu line, we can choose
Absolute or Relative transform.
| | 04:47 | Being that I'm starting at 0, I'm going
to put my Absolute Transform on and put
| | 04:51 | the Y of that mesh loop at 54.
| | 04:55 | This now shows where the
curved top needs to start.
| | 04:58 | I'll double-click on this other edge
loop and put the Y at 36, and there's the
| | 05:03 | height mark for that middle area.
| | 05:05 | I'll right-click and choose Object mode.
| | 05:08 | Now, what I'll do then is take this
object and add it to a new display layer,
| | 05:13 | clicking on the Create New Layer
and Assign Selected Objects button.
| | 05:16 | With it on and added in, I'll
double-click on the layer and rename it.
| | 05:20 | I usually call mine Bbox
for short, or Bounding Box.
| | 05:24 | I'm going to make the Display
type a reference and click Save.
| | 05:29 | Now, it's there as a reference for height.
| | 05:32 | If I need, I can always make it a fully
editable object and snap to it, or I can
| | 05:36 | make it a template and see
through it, even in a shaded view.
| | 05:40 | But more importantly, I've boxed
out the major height marks on my prop.
| | 05:43 | It's important to do this to
avoid what's called model creep.
| | 05:46 | When you start out modeling something
and it seems to grow in dimensions--you
| | 05:49 | thought you were modeling a six-foot
person who ends up around eight and is
| | 05:53 | rather oddly shaped--
| | 05:54 | I make a practice of adding a
bounding box in, and I'll even use this in a
| | 05:59 | white box model which I need to
hand off for game development, and then
| | 06:02 | fleshing out the final props.
| | 06:05 | This way, I've got the actual heights of
things in place and key height marks in,
| | 06:09 | so when I model details, they go
in the right place and the world
| | 06:12 | stays consistent.
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| Adding curved panels| 00:00 | With my bounding box in place,
I'm ready to start modeling my actual gas pump.
| | 00:04 | I'm going to make a new box, holding
Shift+Right-click and choosing Poly Cube.
| | 00:09 | I'll make a box and then
get it in the right place.
| | 00:12 | Because I know I put the original box
around 0, 0, I can do the same thing here,
| | 00:16 | picking all three translates and pressing 0.
| | 00:19 | Now I'll get it in the
right place by moving it up.
| | 00:23 | I really have no idea what
the height of this box is,
| | 00:25 | so I'll go into the INPUTS here and change it.
| | 00:28 | I'll put the height here at 54.
| | 00:31 | My thought is I'm going to end up
extruding that top out to get the curves
| | 00:35 | right, and so I'll come back up to the top
here in the Translate Y and put that at 27.
| | 00:41 | This way it snaps in the middle.
| | 00:43 | My other thought is that these sides
are curved, that probably the bounding box
| | 00:48 | reflects the outer part of the curve,
and those shallow curves in the gas pump
| | 00:52 | are not terribly thick.
| | 00:53 | So this inside box needs
to be a little bit smaller.
| | 00:56 | I've made my original 18 x 16,
| | 00:59 | so I'm going to put this one at 16 x 14.
| | 01:04 | That way it fits snugly in the middle there.
| | 01:07 | And because I've put in zeros in the X and Z,
it's already centered on my bounding box.
| | 01:13 | A little careful placement goes
a long way when you're modeling.
| | 01:17 | I'll start to block out the basic form.
| | 01:19 | My thought is I want an all-quad workflow.
| | 01:22 | What that means is that everything is a
four-sided polygon, and those triangulate
| | 01:26 | nicely when we import them into a game engine.
| | 01:29 | We can have more sides if we need.
| | 01:31 | Everything will be reduced
down to triangles anyhow.
| | 01:33 | But it's good to have a nice even flow.
| | 01:36 | That way we avoid smoothing or
softening artifacts on edges.
| | 01:40 | Now what I'll do is get those subtle curves in.
| | 01:43 | I'll go back to my reference and take a look.
| | 01:45 | Back here in Photoshop, I'm going to
turn off my layer 1, my overlay lines.
| | 01:50 | It looks like I need a curve
that kind of radiuses that corner.
| | 01:55 | There is this front panel that
actually seems to pop out a little bit.
| | 01:59 | And finally, there is the sides which have
a little bit of a curve to them as well
| | 02:02 | and then obviously that curved top.
| | 02:05 | My thought then is I'm going to need
vertical loops running all the way up the sides.
| | 02:09 | I'm going to get those in and get these
sides bulging out or curving as they're
| | 02:14 | supposed to be for that streamlined form.
With all the vertical loops in place,
| | 02:18 | then I'll get the curved top in.
| | 02:21 | Here in Maya then, I'll scroll down
into the INPUTS in that polyCube, and I'm
| | 02:26 | going to put in Subdivisions Width and Depth.
| | 02:29 | I'll put the Width Subdivisions in
at 3, and I'll also put the Depth
| | 02:33 | Subdivisions in at 3.
| | 02:36 | I'll hide my reference, and I'm ready to
start adding in a bit of those curves.
| | 02:41 | I'll press 5 for shaded view,
and I'll press F11 for face.
| | 02:47 | I'll pick this side and spin around,
hold Shift, and pick the other one.
| | 02:51 | I can either move them or I can scale them,
and my thought is I'm going to scale them.
| | 02:56 | I'll click and drag on the X axis,
| | 02:58 | doing a little bit of precision
movement right here, making sure I'm scaling in
| | 03:02 | one direction only and
giving those sides a gentle bow.
| | 03:05 | Now, I'll do the same on the front.
| | 03:08 | In this case, I'll scale them out on
the Z axis just a little bit. And there's
| | 03:12 | the start of that curved form.
| | 03:14 | Now, I can begin to bevel
corners and add in those tighter radii.
| | 03:18 | I can also then start to look at the
top. And finally, because I have a clean
| | 03:22 | flow all the way up, I can add in
divisions across for the display.
| | Collapse this transcript |
| Rounding the corners| 00:00 | With my curved sides in place,
I'm ready to round over the corners.
| | 00:04 | I'll check back on the
reference and see how it looks.
| | 00:06 | I haven't set up an image plane here.
| | 00:08 | I don't think it would do me a lot of
good, as it's in a perspective already.
| | 00:12 | I typically use image planes when I have
orthogonal views drawn of an object and
| | 00:16 | I can match the model in a
front or side view directly onto it.
| | 00:20 | Rather than see an image plane and spin
around, or have it occlude something, I'm
| | 00:24 | comfy just switching back and forth to
either a browser or over to Photoshop to
| | 00:28 | look at that reference and
draw mesh lines on if I need.
| | 00:32 | Here in Photoshop then, I'll zoom
in and take a look at that gas pump.
| | 00:36 | It's got a curve on the front, which
I've just put in, and a little bit of
| | 00:39 | a radius right here.
| | 00:41 | There's even a little bit of a
notch, and we can just see it over there.
| | 00:44 | That's that Art Deco form coming in.
| | 00:47 | The recess here will be
handled through a normal map,
| | 00:50 | but I need to have this curve in at
least, so I get a streamlined form going.
| | 00:55 | The vents will be part of a normal map
as well. And these rivets and probably
| | 01:00 | some of this display will
end up with a normal map.
| | 01:02 | This will be a normal map.
| | 01:04 | And finally, more vents and extra
fins will be in the texture as well, but
| | 01:09 | these curves are a big deal.
| | 01:11 | Here in Maya then, I've got some options.
| | 01:14 | My thought is I'm going to end up
extruding some top faces to make those curves,
| | 01:18 | and so I could either extrude the top
and then add the side curves in or add
| | 01:22 | them in and then extrude the top.
| | 01:24 | I can make both work.
| | 01:26 | The choice I'm going to take
is to curve the sides first.
| | 01:29 | I'll press F10 for edge and pick those sides.
| | 01:33 | I'll hold Shift and select all
four corners and then bevel them.
| | 01:39 | What I want in a model like this is consistency.
| | 01:42 | It's important to make sure that you're
beveling things like these corners all
| | 01:45 | at once, so they all have the same dimension.
| | 01:47 | We could go back and put in the same
dimensions if we needed, but having it done
| | 01:50 | in one operation will go smoother.
| | 01:53 | I'll hold Shift and right-
click and choose Bevel Edge.
| | 01:56 | The comment I always hear on
Bevel is "Bevel didn't work;
| | 01:59 | my shape exploded," and if we look
at this, it doesn't quite look right.
| | 02:03 | Here is the deal with bevel.
| | 02:05 | There is an Offset as a Fraction, and
if we take that and put a zero in for
| | 02:09 | off, now we're beveling in scene units.
| | 02:12 | I'm going to put the Offset at 1.5, an
inch and a half, so it's nice and curvy,
| | 02:18 | and then I'll come down and put the
Segments in at 2, so I get one extra edge
| | 02:22 | right in the middle of it.
| | 02:24 | I can soften this later and get the form right.
| | 02:26 | I'm ready to start getting in the top.
| | 02:28 | What I'll do is instead of having
these small triangular faces here from
| | 02:32 | the bevel, I'll delete the top faces, fill
that hole, and then extrude that top polygon.
| | 02:38 | I'll press F11 for face and select the faces.
| | 02:41 | Then I'll hold Ctrl and deselect the
vertical faces I've got, leaving me just the top.
| | 02:46 | I will hit Delete and then press F10 for Edge.
| | 02:50 | I'll double-click on the top
edge, which is now a border.
| | 02:53 | I'll hold Shift and right-click, and here
on my Marquee menu, I'll choose Fill Hole.
| | 02:58 | Now I've got one n-sided polygon, which is fine.
| | 03:01 | I'm going to extrude it and I can
come back and quad it if I need.
| | 03:04 | I'll press F11 for face and pick this top face.
| | 03:08 | I'll hold Shift and right-
click and choose Extrude Face.
| | 03:12 | The Extrusion tool is really
fantastic for modeling, because it's got Move,
| | 03:15 | Rotate, Scale, Local and World
axes, and also Divisions all at once.
| | 03:20 | I'm going to pull this up and set that
Extrusion Height at 6 inches so I come out right.
| | 03:25 | Over here on the Local
Translate Z I'll put in 6.
| | 03:30 | Then I'll hold Ctrl and scale on the Z axis.
| | 03:33 | What that does is actually
scale the X and Y proportionally.
| | 03:36 | I'll give this a taper.
| | 03:38 | And finally, I'll come in here
to the Divisions and add in 3.
| | 03:42 | This gives me divisions to
make the curve on the side.
| | 03:45 | I'll go into my front view and start
scaling out these edge loops to make
| | 03:49 | those curved corners.
| | 03:50 | I'll press F10 for Edge, W for Move to get out
of extrusion, and double-click on an edge loop.
| | 03:56 | I'll press R for Scale and hold Ctrl
while I scale on the Y axis in green.
| | 04:02 | I'll pull these in and out, knowing that it's
making the same curve on the front and side.
| | 04:08 | I can't double-click and select the top,
as we can see here because it's one big
| | 04:12 | n-gon and I've broken the edge structure.
| | 04:14 | I'll press F9 for Vertex
and select those top vertices.
| | 04:18 | I'll even turn off my grid so I can
see what I'm doing a little better, and now
| | 04:22 | I will scale those in,
to make the rest of that curve.
| | 04:25 | It's a matter of kind of pushing and
pulling it around to get it in the right place.
| | 04:30 | It's working, and there is
the top curve of my gas pump.
| | 04:33 | What I'd like to do to avoid some
smoothing artifacts later is come back here
| | 04:37 | and use my Split Polygon tool or bridge across.
| | 04:41 | I can do this now or I can
simply leave it alone, and it will
| | 04:43 | triangulate nicely.
| | 04:45 | I'll take the first choice.
| | 04:47 | Under Edit Mesh, here is
my Interactive Split tool.
| | 04:51 | I'll click and drag to a vertex
and over to its corresponding vertex.
| | 04:56 | I'll put it in place and hit Enter.
| | 04:58 | And there's a new mesh line.
| | 05:00 | This will let me smooth across these
edges, and I'll repeat this all the
| | 05:03 | way across the top.
| | 05:06 | I'm hitting G to repeat last, and I'm
landing these mesh lines right across.
| | 05:11 | This will put in new vertices
and let me smooth this over later.
| | 05:16 | If you miss, like I just
did, you can hit Z to undo.
| | 05:20 | I'll hit G to repeat last and
snap that edge line in again.
| | 05:24 | Now, I'll click and drag
along the edge and land it.
| | 05:27 | You can see it's snapping in,
and hit Enter to accept it.
| | 05:30 | I'm ready to play with the hard and soft
edges, and then I'll get into unwrapping.
| | 05:34 | It's a fairly straightforward model on
the gas pump, and I've got my curved form
| | 05:38 | in place all the way around.
| | 05:40 | I'll go back and check the reference one
more time and see what else I am missing.
| | 05:44 | It looks like it can flare out a little
bit at the base, so I'll take the top,
| | 05:48 | and scale it just slightly.
| | 05:49 | I'm also going to put in a mesh line so I can
bevel or inset this area where the dials are.
| | 05:56 | First, I'll add the taper in the top.
| | 05:58 | I'll press F9 for Vertex and
select all the top vertices.
| | 06:01 | I'll press R for Scale and hold
Ctrl and scale slightly on the Y axis.
| | 06:05 | The X and Z scale in ever so slightly,
and it's got a little bit of a taper.
| | 06:11 | Now, I'll turn back on my reference, press
4 for a wireframe, and go into a front view.
| | 06:17 | I'll hold Shift and right-click
and choose the Insert Edge Loop tool.
| | 06:21 | I'll go into the dialog on this and
see what it's set to, because it holds the
| | 06:25 | settings from last time I used it.
| | 06:27 | I'll make this a relative distance
and then close the Tool Settings.
| | 06:30 | I'll land in one edge loop, and
I've already got a second up here.
| | 06:35 | I'll press W for Move, V for Snap,
and I'm going to snap this right onto
| | 06:39 | my reference object.
| | 06:41 | Now I've got a clear place in front
to come in and model that inset face.
| | Collapse this transcript |
| Unwrapping the face frame| 00:00 | I've adjusted the form on the gas pump
just a little bit, and I'm ready to add
| | 00:04 | in the inset faces for the dials.
| | 00:06 | I've just massaged some of the curves
up on the top, making sure that the edge
| | 00:10 | loop is in the right place for that
subtle curve as the side curve is in.
| | 00:14 | I'm ready to deal with hardening and
softening edges to eliminate some of the
| | 00:18 | creasing from the original box.
| | 00:19 | What I will typically do on a model
is either soften all the edges and come
| | 00:24 | back and harden selectively or harden
everything and then come back and soften selectively.
| | 00:29 | It's really up to you how you want to proceed.
| | 00:32 | What I'll do here is spin around to the
bottom first and delete the unneeded polygons.
| | 00:37 | I'll select them and then hold
Ctrl to deselect any of the verticals.
| | 00:41 | I'll hit Delete, and now I
have an open border at the bottom.
| | 00:45 | Then I'll press F8 for Object,
| | 00:48 | hold Shift and right-click, and
choose Soften/Harden Edge > Soften Edge.
| | 00:53 | I'll make sure I turn off my wireframe
on shaded and see if it softens decently.
| | 00:58 | It looks pretty good, although I need to
add a little bit more curve to the top.
| | 01:02 | I'll zoom in--and this is one of the
reasons I came back and subdivided this.
| | 01:06 | I'll pick this top polygon.
| | 01:08 | It's important when you're adding in
curves, especially for a game, that rather
| | 01:12 | than pulling up an edge or a point, you
pull up a polygon so that at the top of
| | 01:17 | the curve, when we look at
it straight on, we see this:
| | 01:20 | a little bit of a flap, which if we come back
far enough, really starts to look like a curve.
| | 01:26 | It's better seeing this than a peak in a model.
| | 01:30 | I could come back and use that Split
Polygon tool to add in more loops here to
| | 01:34 | get a little more subtle curve,
but I think this will work fairly nicely.
| | 01:37 | I'm going to insert the front
panels, and then I'll start the unwrap.
| | 01:42 | What I'm going to do is pick the three
big front faces on each side, holding
| | 01:47 | Shift to add to the selection.
| | 01:49 | I'll zoom in, hold Shift and
right-click, and choose Extrude Face.
| | 01:54 | I'm going to extrude these in by scaling,
first on the X and then on the Y axes.
| | 02:00 | I'll pull these in, and it's
going to give me a centered extrusion.
| | 02:03 | Then I'll hit G to repeat last, and
I'll take this extrusion and pull it in on
| | 02:09 | the Z axis slightly.
| | 02:11 | It gives me the inset face on both
sides, and I can come back and round over
| | 02:15 | these corners a bit.
| | 02:16 | What I'll do is go back to my front view.
| | 02:19 | I tend to switch around views a lot,
and it's okay to do this and zoom in.
| | 02:23 | Now, what I'll do is some scale.
| | 02:25 | I'll go to a wireframe by pressing 4.
| | 02:27 | I'm going to select the
corner vertices of this panel,
| | 02:31 | holding Shift to add to the selection.
And actually what's happening is I'm
| | 02:35 | grabbing both sides.
| | 02:38 | I'll press R for scale and scale them
down on the Y axis just a little bit and
| | 02:42 | approximate a little bit of a curve.
| | 02:45 | If needed, I can add in a couple
more edge loops and curve these further.
| | 02:49 | I'll hold Shift and right-click, but
it looks like I need to change over to
| | 02:53 | edges so I can pick that Insert Edge Loop tool.
| | 02:56 | I'll press F10 for Edge, hold Shift and
right-click, and it looks like I still
| | 03:01 | need to change that marquee menu.
| | 03:03 | The reason for this is it still
thinks I have vertices selected.
| | 03:05 | If I pick an edge, hold Shift and right-
click, there is my tools for edges, and
| | 03:10 | here's my Insert Edge Loop tool.
| | 03:12 | What I will do is put it at Multiple edge
loops at 2 and land an edge loop right across it.
| | 03:18 | This is how I can tell
I've got a good model going.
| | 03:21 | One edge loop insertion travels all the
way around the model, and I can see it
| | 03:25 | in a perspective view.
| | 03:27 | Now, I can take vertices, pressing F9,
and selecting these middle vertices,
| | 03:32 | holding Shift to add to the
selection and curving out those sides.
| | 03:37 | I can go back and look at the
reference and scale this up and move it up
| | 03:40 | and down as needed.
| | 03:41 | I'll move it, get it positioned correctly,
and then do a mass-unwrap on this object.
| | 03:45 | I'm going to pull up the sides here,
keeping the sides themselves straight,
| | 03:51 | getting the display in the right place,
and pulling up the top and bottom to
| | 03:55 | make the approximation of a
curve at the corners of that inset.
| | 04:00 | I switch into a perspective view in
Shaded mode by pressing 5, and I'll do a
| | 04:04 | little more scaling on the inside faces.
| | 04:07 | What this is going to give me is just a
little bit of a corner here--not really
| | 04:13 | a full round, as I can't spare
the polygons to radius this,
| | 04:17 | but it needs to be less than straight.
| | 04:19 | So, I'll scale these in on
the X axis first and then the Y.
| | 04:23 | So, I've got a little bit of a slope here.
| | 04:26 | With a normal map, these will
start to look pretty decent.
| | 04:30 | More importantly, if I back out far
enough, there is that display, and it looks
| | 04:34 | right about the right shape.
| | 04:36 | Here's how I'll proceed with the unwrap.
| | 04:38 | What I'd like to do is to stack the UVs,
stacking the fronts and the sides together.
| | 04:43 | We've got a bunch of different ways to do this.
| | 04:46 | What I'm going to do is to look at the
reference and see where I can make a
| | 04:48 | break in the texture.
I've got a good clean break in the texture;
| | 04:52 | the sides and top are red and the front is white.
| | 04:56 | If I can break on that edge line,
I can unwrap those in almost a planar map
| | 05:01 | and stack those UVs.
| | 05:04 | To start in with the unwrap,
I'll press F11 for Face.
| | 05:07 | I'm going to pick the front face
right in the middle of that display.
| | 05:12 | I'll spin around, hold
Shift, and grab the other one.
| | 05:16 | Now I'll hit Shift+Period or Greater Than.
| | 05:19 | This grows out the selection, and I'll grow
it out until it captures all of that display.
| | 05:24 | Then I'll hold Shift and add to that
selection by clicking on those lower polygons.
| | 05:30 | I'll pick the upper ones that go with it,
and there is the front of the gas pump selected.
| | 05:34 | Under Create UVs, I'll hit
them with Planar Mapping.
| | 05:38 | I need to rotate this mapping over,
and the quickest way to do this, to get it
| | 05:42 | aligned correctly, is to put in some flavor of
0 or 90 degrees in the rotation on the mapping.
| | 05:49 | I'll put in 0 and that mapping
flips in the right direction.
| | 05:53 | What I'll also do to get the proportion
right in a planar map like this, because
| | 05:57 | right now this is going to be stretched
in my UV layout, is to take the height,
| | 06:03 | press Ctrl+C for copy, and
copy it over to the width.
| | 06:08 | Now, I'm projecting onto its square.
| | 06:10 | And when I go into the texture
editor, what I get is those polygons.
| | 06:16 | They may not be fitted and laid out
correctly in the space here, but they are
| | 06:20 | correctly proportioned so
that I'm not stretching the UVs.
| | 06:24 | I'm going to keep unwrapping, and I'll
look at unwrapping the sides and the top
| | 06:28 | in the same way, and stacking those shells.
| | 06:31 | Once I've got it unwrapped and
flattened and distortion-free, I can lay out
| | 06:34 | those textures to optimize that
texture space and start painting in rust.
| | Collapse this transcript |
| Unwrapping the sides| 00:00 | I'm deep in unwrapping the gas pump,
and I'm going to put on the temporary
| | 00:03 | material so I can tell what I
am doing a little bit better.
| | 00:07 | I have unwrapped the front, and I need to
unwrap the sides and top and get them laid out.
| | 00:11 | What I will start out with though, is
selecting the object, right-clicking, and
| | 00:15 | choosing Assign New Material.
| | 00:17 | I'll put a blinn material on, sliding
the nameless slider up at the top of the
| | 00:21 | Assign New Material
dialog and clicking on blinn.
| | 00:24 | I'll scroll over, and there's
the attributes on my blinn.
| | 00:27 | What I have also done and here is to
delete the history, as it did say poly
| | 00:31 | tweak and extrude and so forth. And I
really didn't need to go back to it;
| | 00:35 | I just need the polygons.
| | 00:36 | We can delete History by pressing
Shift+Alt+D. I'll call this blinn unwrap_checkers.
| | 00:43 | This way know it's a temporary material
| | 00:45 | I'm using if I spot it later, and I
can make sure I get a proper material on
| | 00:48 | before I go over to my game engine.
| | 00:51 | Now I'll click on the texture for Color,
and in the color, in the Create Render
| | 00:55 | Node dialog, I'll pick File. It puts in
a File node, and I'll click on the yellow
| | 01:00 | file folder to go browse for an image.
| | 01:02 | I've put in the sourceimages folder for this
project a file I use called 1024 x 1024 template.
| | 01:09 | It's a file I made in Adobe
Illustrator, and what it's got is gray and colored
| | 01:13 | squares and letters.
| | 01:15 | What these let me do is see, where is
a map tilling and repeating, as red and
| | 01:20 | green will meet up or yellow
and orange or whatever it is?
| | 01:24 | The letters also let me see local
distortion in each square and if it's
| | 01:28 | facing the right way.
| | 01:29 | A lot of folks tend to use black and
white checkers, and I tend to shy away from
| | 01:33 | that, and the reason is that
black stretching to black is black;
| | 01:37 | white stretching the white is white.
| | 01:38 | The only place you can tell you have a
stretch in your unwrap using a simple
| | 01:42 | checker pattern is at the
border of the black and white.
| | 01:45 | So I would rather use something that
lets me see, where is it tiling and where is
| | 01:49 | it stretching within that image?
| | 01:51 | I'll click Open, and then I will
press 6 and show that texture in the view.
| | 01:56 | What we can see here is that I've got
the front unwrapped and although it's
| | 02:01 | backwards, it's at least
proportionate. The squares are square.
| | 02:05 | But the sides and top are badly stretched,
which is part of the modeling process.
| | 02:09 | We're seeing the original UVs of the
original box still in place on some of it,
| | 02:14 | but because I've added to the model and
pushed it around and extruded, they are
| | 02:18 | stretched and mashed up here.
| | 02:20 | Now I'll start unwrapping the sides.
What I will also do is turn on Wireframe un-
| | 02:24 | shaded so I can see would I'm doing.
| | 02:27 | I'll press F11 for face, and I'm going
to unwrap the side and then the top.
| | 02:32 | I'll look back at the reference and
see if I can find a clean border.
| | 02:36 | Here in the reference, I can see that
the side is a separate panel that snugs up
| | 02:40 | under the top. The top flares out
slightly, and I'll zoom in so we can see it.
| | 02:45 | It's got a bit of a lip here where
the steel has been curled under and then
| | 02:48 | popped out, both for strength
and to provide a watertight joint.
| | 02:52 | This is a great place to break the
texture, as I can see the rust on the top
| | 02:56 | comes down to this lip cleanly and then it's
red and rusty in a different way on the side.
| | 03:02 | If I plan correctly in my unwrapping
then, I can unwrap the side and then the
| | 03:06 | top and get a clean unwrap where I can
paint in rust and not have to worry as
| | 03:11 | much about making the
rust match from side to top.
| | 03:14 | On the side then, I'll press F11 for face,
| | 03:18 | I'll pick the object, and pick those side faces.
| | 03:21 | One of the things I do when
unwrapping sometimes is press 5 to go back to a
| | 03:25 | shaded view without the texture, so I
can see what I'm doing a low clearer.
| | 03:29 | I'm going to pick these side faces,
picking two, holding Shift to add the
| | 03:33 | second, spinning around, and picking those two.
| | 03:37 | Then I'll grow the
selection by pressing Shift+>.
| | 03:41 | Now I'll press 6 and make sure
I'm catching enough polygons.
| | 03:44 | It looks like I need to grow out
that selection a little bit more.
| | 03:47 | I'll press Shift+> once, twice more.
| | 03:51 | I'll press 5 to switch back to shaded
view, and it looks like it grabbed the
| | 03:55 | amount of the side I need
but went too far in the top.
| | 03:59 | Here in my front view, or in a
perspective, I'll hold Control and deselect
| | 04:03 | those top polygons.
| | 04:05 | Those are the sides I
want selected for my unwrap.
| | 04:08 | I'll go back to that Shaded with
texture view and show the planar unwrap on it.
| | 04:13 | I'm using a planar unwrap
because these are nearly planar;
| | 04:16 | that subtle curve won't make a difference in
the unwrap, and I want to project on it cleanly.
| | 04:20 | I'll choose Create UVs > Planar
Mapping. A lot of folks like to go into the
| | 04:25 | dialog and try to get the sides right--
X axis, Y axis, and so forth. Really, it's
| | 04:30 | faster sometimes for me to just say
Planar Mapping, and then I'll look in here
| | 04:34 | in the planar mapping attributes in the
Rotation and at some version of X, Y, or Z
| | 04:39 | on 90 degrees, or some multiple of, to
get it flipped in the right direction.
| | 04:44 | Then what I will do is take that
Height, copy it, and paste it in the Width.
| | 04:49 | We can see here on the side that now the
squares are square. Yes, these are backwards.
| | 04:53 | They're mirrored.
| | 04:54 | On this side they are correct,
and I'll deal with that in the next video.
| | 04:58 | But the side is unwrapped, the front is
unwrapped, and the other side is unwrapped.
| | 05:03 | I'll repeat the process with the top,
and then I'll get into laying out
| | 05:06 | these textures.
| | Collapse this transcript |
| Moving and sewing UVs| 00:00 | I have continued unwarapping the gas
pump, and I can see I've got some obvious
| | 00:03 | issues here on the top.
| | 00:05 | I need to take a different approach to
un-wrapping these curved top polygons.
| | 00:09 | I've set it up so I've got a clean
seam in my UVs here and also at the front,
| | 00:13 | as we can see where the clear
letters match up with the distorted ones.
| | 00:17 | Rather than a planar map on the top,
I need to try a different approach, and
| | 00:21 | the reason is, as these polygons start
to turn more and more, that planar map
| | 00:25 | smashes those UVs through.
| | 00:27 | It's not giving me what I want, and it's going
to distort a very visible part of the gas pump.
| | 00:31 | What I'll do instead is go in and
picks that shell and then try some
| | 00:35 | different unwrapping.
| | 00:37 | Once you've unwrapped, things are
presented in UV shells in the Texture Editor.
| | 00:41 | Under Edit UVs, I'll go in to my editor,
and there is my shells all stacked up.
| | 00:45 | What this lets me do then
is use it as a selection.
| | 00:49 | I'll pick the Move UV Shell
tool and select that shell.
| | 00:52 | That way instead of having to reselect
those faces, I can grab them cleanly this
| | 00:56 | way. I'll press Ctrl+F11 to
convert that selection to faces.
| | 01:00 | And now under Create UVs,
I'll choose Automatic Mapping.
| | 01:05 | Here in my editor it's split it open a bit.
| | 01:07 | I've got the sides of the top and the
top itself. With some creative moving and
| | 01:12 | sewing, I can probably get
this back together nicely.
| | 01:15 | More importantly, it eliminated a lot of
the distortion. Yes, some of the pieces
| | 01:19 | may be a little backwards,
| | 01:21 | but the squares are predominately square.
| | 01:24 | A little stretching I can
accommodate, and I can probably even it out.
| | 01:27 | But I can get it to a point where I
can paint the rust in this very visible
| | 01:30 | section and not have it terribly stretched.
| | 01:34 | My one ally in this case is of course
this has been outside for years, and the
| | 01:38 | rust, because of water
dripping down it, streaks.
| | 01:42 | Here's how I'll handle
this in the Texture Editor.
| | 01:44 | I'll pick my Move UV Shell tool and grab
these shells and pull them out of the way.
| | 01:48 | What we're seeing here is that the
shells are all stacked up and because I've
| | 01:53 | mapped both sides at once,
some are red and some are blue.
| | 01:56 | What I've also done here in my
editor is to turn off the default view.
| | 02:01 | What it looks like when you start up is
this. Everything is in a wireframe with
| | 02:05 | the image you're using as your texture shown.
| | 02:08 | It makes it difficult, I think, to see your UVs.
| | 02:10 | What I do then is to turn off that
image and toggle on shading the faces.
| | 02:16 | This way I can see which way they're
facing and grab my shells a little easier.
| | 02:20 | What I'm seeing then is that the red
are backwards, and I can tell they are
| | 02:24 | backwards also because the
letters in the viewport are backwards.
| | 02:27 | I'll deal with this one later.
| | 02:29 | Right now I'm going to take these pieces
at the top and start to stitch them in.
| | 02:34 | I'll press W for move and
right-click and choose Edge.
| | 02:38 | I'll start to pick some edges on my top
here, and I can see the orange edge here
| | 02:42 | corresponds to the orange edge there.
| | 02:44 | I'm going to pick other edges on the top here.
| | 02:47 | Selecting and I can see their
counterparts selected as well.
| | 02:51 | And under Polygons, I'll choose Move and Sew.
| | 02:54 | It's going to so those sew together,
and it's actually giving me a small gap,
| | 02:58 | right here, or a little bit of an overlap.
| | 03:01 | I want to be careful how I'm moving and
sewing, to get these in the right place.
| | 03:04 | I'll undo that by pressing the Z,
hold Shift and add to that selection, and
| | 03:09 | select those two legs. And now I'll
try a Move and Sew on them, choosing
| | 03:14 | Polygons and Move and Sew.
| | 03:17 | Much better. I can stand a little bit
of tear here because I can fix that, but
| | 03:22 | more importantly, I can paint the rust
seamlessly from the top all the way over
| | 03:26 | to the side to where it
needs to break at the front.
| | 03:30 | Now I'll repeat the moving and sewing,
picking an edge, holding Shift, and
| | 03:33 | double-clicking on the rest of the edge loop.
| | 03:36 | In this case I've broken that loop
structure, by having that giant polygon in
| | 03:40 | here and then subdividing it
using the Split Polygon tool.
| | 03:44 | I'll go and select these manually,
holding Shift to add that selection.
| | 03:48 | Then I'll do a Move and Sew again,
and get the rest of the top in.
| | 03:54 | Once I've got edges selected, I can hit
G to repeat last, because the Move and
| | 03:58 | Sew command is repeatable.
| | 04:03 | There's the top, and if I look over
here in my display, it's a little
| | 04:06 | more distortion-free.
| | 04:08 | I've got a couple of places right here,
I can see I'm stretching the A on the
| | 04:11 | red, but I can fix that by
scaling or moving those vertices.
| | 04:16 | To fix UVs once you've got a large
shell in, you can right-click and choose
| | 04:20 | either Edge or Vertex and
convert that selection if you need.
| | 04:24 | In our editor we can only move UVs, so I'm
going to actually pick UVs and press W for move.
| | 04:31 | Here in my viewport I can select UVs,
and there they are, in the UV Editor.
| | 04:36 | My thought is that this polygon here is
much taller than it shows up over here.
| | 04:41 | What I'll do then is try grabbing the
four UVs next to it and pulling them
| | 04:46 | slightly, and seeing where that distortion goes.
| | 04:48 | And I think with a little bit of careful
work, I can get some of the distortion out.
| | 04:52 | I'll hold Shift and add to that
selection and see if I can tug gently on these
| | 04:57 | and get that shape restored.
| | 04:59 | As long as I get most of the
distortion out, I will be in pretty good shape.
| | 05:03 | What I may also want to do is pick
the counterparts here on the other side,
| | 05:07 | making sure I grab all of
them, and press R for scale.
| | 05:11 | I'll scale them out on the Y axis
just a little bit, and those squares come
| | 05:15 | back to square decently.
| | 05:17 | I can do the same on the other side,
getting this shell evened out and ready for
| | 05:21 | laying out in this texture space.
| | Collapse this transcript |
| Laying out the UV coordinates| 00:00 | I've finished unwrapping this gas pump.
| | 00:02 | Everything is fairly well
proportionate and all the squares are squares as I
| | 00:06 | spin around and check.
| | 00:08 | Now it's time to layout these UVs
to make best use of my texture space.
| | 00:12 | The way I've set it up is that I've got
mirrored sides and fronts, and the top is unique.
| | 00:17 | I've also planned it so I've got a
clean texture scene here where there is a
| | 00:21 | natural seam in the reference, where
the top has a lip that laps over the side.
| | 00:25 | On the front I've planned in that
texture to correspond with the joint between
| | 00:29 | the white and the red paint. So as
long as I paint to it and have decent rust
| | 00:33 | around, it will be a good match.
| | 00:36 | Now I'm going to lay this out.
| | 00:37 | I'll go into my Texture Editor and look
at stacking and laying out UVs to make
| | 00:42 | the best use of this.
| | 00:44 | Textures tend to be square,
and they're powers of two.
| | 00:46 | What we need to do then is make
the best use of our texture space and
| | 00:50 | accommodate possible variation in the
number of objects and also wear and tear.
| | 00:55 | What we're seeing here right now is
that I'm out of my zero to one space, which
| | 01:00 | is called the normal range.
| | 01:01 | I need to stay within this so
I'm always safe when exporting.
| | 01:05 | Depending on where you're going,
you can use the full UV range if you need,
| | 01:09 | but it's better to stay within zero to one,
depending on which engine you're exporting to.
| | 01:13 | This size is relative; it's not pinned
to a pixel size until we do a snapshot.
| | 01:19 | What I'll do is start to lay out some pieces.
| | 01:22 | I'll pick my Move UV Shell tool and
start to grab UVs and pull them off to the
| | 01:27 | side so I can see what's going on.
| | 01:29 | There are the sides and tops, and I can
see that they're a little out of order.
| | 01:34 | What I need to do is to flip these around so
that bump maps work the same on both sides.
| | 01:39 | If UVs are flipped and they're
backwards, as shown here in red, bump maps that
| | 01:43 | should go out will go in.
| | 01:45 | Things like flaking paint will appear
to go into the object instead of sticking
| | 01:49 | out from the surface.
| | 01:50 | What I can do to make the selection
easy here is to convert some selections
| | 01:55 | back and forth so I can flip things
and keep both sides aligned. Here's how I
| | 01:59 | will make this work.
| | 02:01 | Instead of spacing out my UVs, I'll undo.
| | 02:04 | I'll get these stacked back up as they were,
and I'll go and pick both fronts and move them off.
| | 02:09 | Over in my viewport I can
press F11 for face and pick a face.
| | 02:13 | I'll spin around and pick
one face on the other front.
| | 02:17 | Up here in the UV Texture Editor,
I'll choose Select and select Shell.
| | 02:22 | It selects all the faces in that UV
shell. And I can press Ctrl+F12 and convert
| | 02:27 | that selection to UVs. Then I can move
them using the Move UV Shell tool off, and
| | 02:33 | there are both fronts and
both sides now separate.
| | 02:36 | Now I can deal with the backwards-facing UVs.
| | 02:39 | I can see that A, B, C, and D are flipped
here. That's why I put those letters
| | 02:44 | in that UV map, so I can
tell which way it's facing.
| | 02:46 | What I will do is use the same
technique, only picking one side and flipping it.
| | 02:50 | I'll pick one face and here
under Select, choose Select Shell.
| | 02:55 | I'll press Ctrl+F12 to convert to the
UV Shell and choose Polygons > Flip.
| | 03:01 | They flip around but are still stacked.
| | 03:03 | Whether we use all of it or not, we're
still loading this texture space in memory.
| | 03:08 | My plan then is to stack these UVs.
| | 03:11 | That way they share texture on
fronts and sides, and I can get more detail
| | 03:15 | painted in that UV space.
| | 03:17 | Then I'll get these arranged and laid
out once they're all stacked in and see
| | 03:20 | what else I have space for.
| | 03:22 | Because it's a gas pump, I need to
allot some space in here eventually for a
| | 03:26 | hose and nozzle. Or maybe there's
another fitting I want to end up using.
| | 03:30 | I'll repeat this process on the sides,
looking for this side that's backwards.
| | 03:35 | There it is, and I will pick that face.
| | 03:37 | I'll choose Select > Select Shell and
Ctrl+F12. Then I'll take this face and
| | 03:42 | choose Polygons > Flip.
| | 03:45 | Now I've got the sides stacked,
and I can start to lay this out.
| | 03:49 | I'll use my Move UV Shell tool.
| | 03:51 | I'll pick these shells and
slide them over next to the fronts.
| | 03:55 | This way I've got some continuity
I can paint across here if needed.
| | 04:00 | Finally, I'll pick the
top and press R for Scale.
| | 04:03 | After all that work to get it proportionate,
I want to make sure I'm scaling uniformly,
| | 04:07 | so I'm going to click in
the middle and scale it down.
| | 04:10 | I'll move it over and place it in right here.
| | 04:14 | It's a decent layout.
| | 04:15 | The one last thing to do is to make sure
these shells are not touching the edge.
| | 04:19 | I've got some leftover space here,
which I can probably use for something else
| | 04:22 | like a tool or maybe there is a tire or
maybe there is an air and water nozzle or
| | 04:27 | something else that I can use here.
| | 04:29 | What I do need to do so it imports
properly into Unity is make sure I select
| | 04:34 | these shells and scale them down.
| | 04:36 | Unity tends to have issues if shells
are touching the edge of the UV space,
| | 04:42 | so I'm going to pull them down
slightly and then move them over, just making
| | 04:46 | sure they're inside.
| | 04:47 | I want to give myself a
little bit of a margin here.
| | 04:50 | That way, depending on the size of this
texture, if this comes near the edge,
| | 04:55 | it's still going to be okay.
| | 04:57 | I'm ready to snap-shot this and start painting.
| | 05:00 | I'll save this model. Then I'll
figure out how big to paint and start in on
| | 05:04 | first the clean paint and then
to the general wear and tear.
| | 05:08 | This is a fairly easy object to model.
| | 05:10 | Really what I'm after when I'm modeling
props is that I'm using my texture space
| | 05:14 | elegantly, and I'm modeling to get the
right silhouette and the right number of
| | 05:18 | curves in the model,
| | 05:20 | keeping it low poly. We can still spend
some faces where we need, on key contours,
| | 05:24 | to make sure it really looks
like the model it's supposed to,
| | 05:27 | watching out for the hallmarks of the
design, things like those round corners
| | 05:31 | and slight tapered shape that
really denote it as Art Deco.
| | 05:35 | It's going to match in
with my gas station nicely.
| | 05:37 | And I'll be able to paint on it easily,
and my UVs are laid out cleanly so that
| | 05:42 | I get distortion-free rust and general
grime on my gas pump when I'm all done.
| | Collapse this transcript |
|
|
2. Texturing the Gas PumpOverview of the texturing process and PSD networks| 00:00 | In this chapter I'll take the gas
pump I've unwrapped and look at texture-
| | 00:04 | painting techniques, starting with a clean
texture and then adding in dirt and wear.
| | 00:08 | I'll construct both the diffused and a normal
texture from a bump painted as a grayscale.
| | 00:12 | I'll also look at a PSD network, a
really powerful way of texturing in Maya that
| | 00:17 | links a PSD file and layer sets into
various components in a material, so we can
| | 00:22 | see all of the parts at once here in our view.
| | 00:25 | To start, I'll pick my object
which has already been unwrapped.
| | 00:29 | We can delete the history if we need, if
we feel it's getting a little bit bulky.
| | 00:33 | I can usually tell as I'm scrolling
over here in the Attribute Editor.
| | 00:36 | If I have to scroll a lot,
it's time to delete history.
| | 00:39 | If we delete history, UVs are
still on the model. They're baked in.
| | 00:43 | I'll press Shift+Alt+D and delete that,
| | 00:46 | so now I'm down to the Transform
node, a Shape node, and a material.
| | 00:51 | I'm going to put a new material on this,
right-clicking and choosing Assign New Material.
| | 00:55 | And I'll put a blinn on,
which I'm going to call Gas_pump.
| | 00:59 | I've pressed F6 to go to the rendering module.
| | 01:02 | And under Texturing, I'll
choose Create PSD Network.
| | 01:06 | What this will let me do is make a PSD,
size it, print out a template or a
| | 01:10 | snapshot, and add in different attributes.
| | 01:14 | That way I can have one file that
links in multiple places in this material.
| | 01:19 | My usual rule of thumb is to paint
twice as big as my final texture.
| | 01:23 | I can also let Unity do some optimization,
so even though I may paint this big, I
| | 01:27 | can let Unity reduce it in size.
| | 01:30 | What I'm going to do is I'm
going to paint this at 2048.
| | 01:34 | I'll say at the most this comes down
to 1024 in the final export, but I may
| | 01:39 | reduce it to 512, depending on
where it's going to be in my game.
| | 01:43 | But I'd rather have more detail and
reduce than not enough and see pixels.
| | 01:46 | What it will also do is browse this out,
clicking on the file folder, and it's
| | 01:51 | going to put it in my source images folder.
| | 01:53 | I'll call this one 02_01_gas_pump_start.
| | 02:00 | I can have it open Photoshop
automatically if I want, and I'll check this so
| | 02:04 | we can see it happen.
| | 02:05 | Now I'll scroll down and
look at the snapshot settings.
| | 02:09 | Every object has map1 assigned.
| | 02:11 | We can think of it as a
folder to keep UVs in.
| | 02:13 | If we need, we can have multiple UV sets
assigned to an object, and we'll see this
| | 02:17 | a lot of times in the game engine
side, where our light maps will be in a
| | 02:20 | separate set of UVs.
| | 02:22 | I'm going to leave it alone like this,
leave the color value at white, and let
| | 02:26 | my lines be aliased, not checking Anti-
alias, because I'd like to have clear
| | 02:31 | single-pixel lines on all my straight edges.
| | 02:33 | Now I'm going to add in my attributes.
| | 02:37 | I'm going to pick the color, bump,
and maybe specular and add those in.
| | 02:43 | I'll pick specularColor, and then I'll
click on the right arrow, and it says these
| | 02:48 | are the attributes we're going
to add into that Gas_pump.psd.
| | 02:51 | I'll hit Create and watch it open up Photoshop.
| | 02:54 | Maya did that automatically, and this
is really a fantastic way to start.
| | 02:59 | What it's given me, if we look over
here in Layers palette, is my UVSnapShot
| | 03:03 | layer. There is my white lines.
| | 03:05 | It's also given me layer sets named for
that PSD, Gas_pump.specularColor as an example.
| | 03:12 | And in each one of them it's
put a single layer with 50% gray.
| | 03:15 | We should work in a layered workflow in
Photoshop, keeping all of our different
| | 03:19 | parts in different layers.
| | 03:21 | My general rule is that if I
think about it, it's another layer.
| | 03:25 | If I'm going to add
something new, it's another layer.
| | 03:27 | If I'm adding in layers of dirt and grime
and rust and wear, those are new layers.
| | 03:32 | Text is on the new layer.
| | 03:34 | I need as many layers as possible,
because more often than not, I'm going to
| | 03:37 | come back and need to change a little something.
| | 03:40 | Anything I do within each of these layer sets
gets exported as that layer set in that linked PSD.
| | 03:46 | Finally, it's got a background down here.
| | 03:48 | Let's say as an example I
put something in the color.
| | 03:51 | I'm going to say I'll start
out with a good rusty red here.
| | 03:55 | I'll go over to my gas pump
reference and eyedropper that red.
| | 03:59 | Back here in my PSD, I'm going to
fill that layer 1 with my base color.
| | 04:03 | I'm going to save this
PSD and I'll see it update.
| | 04:08 | I'll go back to Maya and here under
Texturing, I'll choose Update PSD Networks.
| | 04:14 | There is that color appearing on my gas pump.
| | 04:16 | What this lets us do then is paint all
kind of things, and when we turn on our
| | 04:20 | High Quality display, we'll see the
diffuse, the bump, and the specular
| | 04:24 | showing up correctly.
| | 04:25 | Now with that PSD network in place,
I'm going to start in on the bump and then
| | 04:30 | get into the diffuse color
and finally, the specular,
| | 04:32 | getting them in the right place in my
PSD and seeing it here in Maya. It's a
| | 04:36 | very fast way to texture and get
things viewable with all the different
| | 04:40 | properties in the view very easily.
| | Collapse this transcript |
| Creating a bump map for the sides| 00:00 | In this video, I'll look at painting a bump
map for my Gas_pump using that PSD network.
| | 00:05 | What I have done so far is put a
base color in the color section.
| | 00:09 | I'll go into my Gas_pump material, and first
I am going to show how to change a PSD over.
| | 00:15 | For this video, right now, although I'm
in 02_02_start, if I go into the color
| | 00:20 | texture, I can actually see I am
using the PSD 02_01_gas_pump_end.
| | 00:24 | I need to change this over.
| | 00:25 | What I can do is actually either click on
the yellow file folder or change the name.
| | 00:31 | In this case, I'll just type in
the new name: 02_02_gas_pump_start.
| | 00:34 | I have taken my PSD and copied it
so I've got the correct version.
| | 00:40 | You may find as you have different PSDs,
you need to be able to swap them out.
| | 00:44 | It still looks to the same layer
set, just a differently named file.
| | 00:47 | Now, I'll take this and copy the name by
pressing Ctrl+C. I'll pick that Gas_pump
| | 00:53 | and go into the other slots.
| | 00:55 | The Transparency is already
looking in the right place.
| | 00:59 | I'll go into the bump map and I'll paste
that name in, selecting it and pressing
| | 01:04 | Ctrl+V to paste, then pressing
Enter and picking the Gas_pump again.
| | 01:09 | I'll scroll down to the Specular Color
and select it and paste that new name in.
| | 01:14 | This is a versioning issue we hit some
times where we are dealing with different
| | 01:18 | textures on a model.
| | 01:19 | Most often what I'll do is have one
PSD and simply save over it, but you may
| | 01:20 | and a dirty version, and you need
to be able to swap out the PSDs.
| | 01:23 | wish to have different versions.
| | 01:24 | For example, you might have different
color gas pumps or may be there is a clean
| | 01:33 | It's easy if you've got good naming
conventions, because you can just go into
| | 01:35 | the image name and put the right name
in in the different slots you need.
| | 01:40 | Now I am ready to paint.
| | 01:42 | I'll go over to Photoshop
and start painting a bump map.
| | 01:45 | What I'll typically do in Photoshop is
press Ctrl+0 to zoom in as far as I can.
| | 01:50 | What I'll also do is go full screen,
pressing F once and twice. Then I'll use the
| | 01:56 | Tab key to bring the menus back and
forth, and press Ctrl+0 to zoom in further.
| | 02:01 | It's up to you how you'd like to work.
| | 02:03 | My general rule is I want as
much working space as possible.
| | 02:07 | My lines are a little bit missing,
and that's really a function of the magnification.
| | 02:11 | What I can also do is hit Z for
zoom, hold Alt, and click once.
| | 02:16 | Zoom out just a tiny bit
so the lines are solid.
| | 02:19 | There is a work for the basic
bump and then I'll zoom in as I need.
| | 02:22 | I am going to press F one more time
and take a quick look at the reference.
| | 02:26 | It's important to go back and forth
and look at your reference and get things
| | 02:30 | right in the right place.
| | 02:31 | This bump right here is at the bottom
of the top shell or the top of the side.
| | 02:37 | It's going to be easier to paint this
going at the top of the side, because of
| | 02:41 | the way I stitched together the top.
| | 02:43 | I also need to put in the vents,
and those can be simple gradients. And there is
| | 02:48 | either a hose or a pump holder left over.
| | 02:51 | I'll get those pieces in and
then start to work on the front.
| | 02:54 | To start with, I'll turn off the
specular color, rolling up the group and
| | 02:59 | turning off the visibility.
| | 03:01 | I'll do the same with the color here.
And now I am going to work in the bump.
| | 03:05 | I'll rename layer 2 to bump base.
| | 03:07 | I am going to leave it alone as a 50% gray.
| | 03:10 | That's going to let me go into white to
come out from the surface and down into
| | 03:15 | black, or almost, if things
need to dip into the surface.
| | 03:19 | I'll make a new layer.
| | 03:21 | I'll double-click on this and rename this.
| | 03:23 | We'll call this one vents to start.
| | 03:26 | I'll make one more new
layer and I'll call this ridge.
| | 03:29 | This will be my top ridge, or fold.
| | 03:32 | Now, I'll zoom in and get that ridge in place.
| | 03:36 | This is my side here, and it's going to
be easier to paint a bump across here
| | 03:39 | than it will be over on the top
shell, which is a little bit fractured.
| | 03:44 | To start then, I'll press M for marquee,
and I am going to put in a marquee right
| | 03:48 | across the top here.
| | 03:50 | This fold needs to go all the way across.
| | 03:53 | I'll go in and eyedropper my gray by
clicking on the foreground color and
| | 03:57 | selecting that gray.
| | 03:58 | Then I'm going to make it just a touch
brighter, going over to the brightness
| | 04:03 | and using the up arrows to
nudge it ever so slightly.
| | 04:06 | Then I'll pick the background color.
| | 04:08 | Because this needs to stick out from
the surface, it's going to go lighter.
| | 04:12 | In a bump map, white is high and black is low.
| | 04:14 | It's not necessarily an exact
measurement like an inch or so;
| | 04:18 | it's really that it looks like it's higher.
| | 04:20 | When we make a normal map out of
this, the gray will convert to a
| | 04:24 | higher level in the normal map.
| | 04:26 | I tend to leave a little bit of latitude,
so I am going to make the brightness
| | 04:29 | on this white, which would be the top
of this fold, a little bit off, maybe 95%.
| | 04:34 | Now I am going to put in a gradient.
| | 04:38 | Underneath the paint bucket is my
Gradient tool, and I can click on that gradient
| | 04:42 | and pull up the Gradient Editor.
| | 04:44 | This key at the end here is
really that same foreground value.
| | 04:49 | I'll click on it, and I can
drop down and pick Foreground.
| | 04:53 | Now I'll put in a new key by clicking in
the middle here. And in this I'll choose
| | 04:58 | the Background and over here another
one, and I'll put in a background color.
| | 05:02 | If you'd like, you can make the
percentages match, picking on the key, and there
| | 05:05 | it is at 20% with this one at 80.
| | 05:09 | I'll click OK and zoom in
so I can see what I'm doing,
| | 05:13 | pressing G for Gradient tool. And I'm going
to draw this gradient as a linear gradient.
| | 05:18 | Notice my gradient key is up here at
the top: Linear, Radial, and so forth.
| | 05:23 | I'll click and drag while holding
Shift, making sure that line goes vertically
| | 05:27 | right across that marquee.
| | 05:28 | I'll zoom out and press
Ctrl+D to end the selection.
| | 05:34 | In a quick check, there is that bump.
| | 05:36 | It starts low, ramps up, and then goes back down.
| | 05:41 | If it doesn't look quite right, it's not
a big deal to reselect and do it again.
| | 05:45 | I can hold Ctrl, click on the ridge
layer, and the selection constrains to
| | 05:49 | what's on the layer.
| | 05:51 | I'll delete and go into
my gradient one more time.
| | 05:53 | I think what I need to do is to take
these keys and just pull them over.
| | 05:58 | I'll make this location 30,
and I'll put this one at 70 instead of 80.
| | 06:04 | I'll zoom in one more time, press
G for gradient, and start inside.
| | 06:09 | That's a little better.
| | 06:10 | It's a smooth transition from
gray up to white and back again.
| | 06:14 | That's the start of that ridge, and I am
going to do the vents in this same way.
| | 06:17 | I'll pick the vents layer and zoom in.
| | 06:20 | It looks to me like these lines provide a
good place to do the vents, a good gauge.
| | 06:25 | I'll land another marquee in and go back
and look at the reference for the vents.
| | 06:29 | If I make one, I can clone it.
| | 06:31 | The vents are really made by punching
through the metal and stretching it out.
| | 06:36 | This is broken across here, or cut out,
and this metal is actually bent or folded,
| | 06:41 | so it's another gradient.
| | 06:43 | I also need a gradient on the
end so it curves in correctly.
| | 06:47 | I'll zoom in on that
marquee and press G for gradient.
| | 06:51 | I need to make a slightly
different gradient here.
| | 06:54 | I'll click on my gradient and take
the keys I don't need, this third key,
| | 06:58 | and just drag it off.
| | 07:00 | I'll do the same with the
fourth right here, pulling it off.
| | 07:03 | Alternately, if it doesn't want to go, I can
take the middle key and yank it off to the side.
| | 07:08 | Then I'll take this fourth key, drop
down under Color, and pick Background.
| | 07:13 | Now it's a smooth
gradient from gray to light gray.
| | 07:16 | I'll press G for gradient if I am not
there already and click and drag down,
| | 07:22 | holding Shift to get a straight line.
| | 07:24 | There is my gradient, and I need to
dole this down so it looks like it's got
| | 07:28 | a fold at the side.
| | 07:30 | What I'll do is use the
Polygonal Lasso in this case.
| | 07:33 | I'll go into my lasso, press Ctrl+D to
deselect, and start the lasso down here in
| | 07:38 | the corner where those mesh lines intersect.
| | 07:41 | I'll click and drag and hold
Shift, constraining that on a 45.
| | 07:45 | I'll drag over and just finish that lasso
around, hitting Enter to finish the lasso.
| | 07:51 | I'll press Ctrl+U for Hue/Saturation,
which I use as a quick shortcut for lightness.
| | 07:56 | I'll take this lightness and dim it down.
| | 07:59 | This is going to give me a little bit
of what looks like a fold here, as if that
| | 08:02 | vent was punched out.
| | 08:04 | I could also come in and
brush that in if needed.
| | 08:07 | I'll show both methods and
see which one I like better.
| | 08:09 | I am using my lasso and holding Shift.
| | 08:12 | That gives me a 45, and then
it's a free lasso after that.
| | 08:16 | I'll hit Enter to accept it, and on
this side I am going to press B for Brush.
| | 08:20 | I'll brush in here as a
Darken brush set at a low opacity.
| | 08:25 | And what I'll do is simply brush over this vent.
| | 08:28 | That way the metal looks a little more folded.
| | 08:31 | With some careful brushing,
I can get this nice and dark,
| | 08:34 | deselecting, and it looks like it's folding
down in, maybe a little beaten up by time too.
| | 08:40 | It's good to experiment.
| | 08:41 | What I am actually going to do is to
leave these alone, bring it in, and see
| | 08:44 | which side looks better.
| | 08:46 | I'll add a little more brushing,
pressing Ctrl+Z to put my marquee back on, and
| | 08:51 | just darkening a little bit more right here.
| | 08:54 | I'll deselect and see how this looks.
| | 08:58 | Here's how this link PSD works.
| | 09:00 | What I am going to do is to
save this as 02_02_gas_pump_end.
| | 09:04 | Then I'll go back into Maya. And because
I'm working in different versions, I'll
| | 09:08 | update the PSD name and then
we'll see that change show up.
| | 09:12 | Back here in Maya, I've updated the
name of that PSD, and it gives me a warning
| | 09:17 | down at the bottom,
Gas_pump.color in the set 02_02 is empty.
| | 09:20 | I'm going to fix this and show
why it's giving me that error.
| | 09:24 | It's not a big deal.
| | 09:24 | It just means that it's respecting
that I've turned off that layer set.
| | 09:28 | I'll pick my pump, go into the
normal, and change the name again.
| | 09:33 | Finally, I'll go into the specular color,
and I'll change that name over from start to end.
| | 09:40 | Again, it gives me the warning that
the pump is empty in that PSD. That's fine!
| | 09:45 | Here's how I'll make a fix.
| | 09:46 | Now that I have updated the name, I am
going to go back here, and here's why it's
| | 09:51 | giving me that error.
| | 09:52 | I've turned off the
specular color and the color.
| | 09:55 | I'll turn them on and press Ctrl+S to save.
| | 09:59 | I'll go back to Maya, and this time I'll
just update that PSD Network. Under Texturing,
| | 10:05 | once I have saved a PSD I like, I can
choose Update PSD Networks, and that bump
| | 10:10 | map will show up correctly.
| | 10:12 | It's got the transparency working,
which I don't really need for my PSD.
| | 10:16 | What I am going to do is to right-click
on Transparency and break that connection.
| | 10:21 | And I'll deselect the object.
| | 10:22 | I'll also turn off my wireframe
unshaded, and there is my bump map on the vent.
| | 10:28 | It looks like I need a little work, as
neither side is particularly what I want,
| | 10:32 | so I'll have to go in and
craft that gradient again.
| | 10:34 | However, this fold at the top is working
nicely. Even though it's all the same color,
| | 10:39 | it definitely looks like the fold of
the original. And it's showing up on both
| | 10:43 | sides because I've mirrored those UVs around.
| | 10:46 | I'll fix the vents and clone them and
then start to add in other bumps like
| | 10:49 | rivets and other folds.
| | 10:51 | Once I have got that in place, I can
start to look at the color on the gas pump.
| | Collapse this transcript |
| Adding details to the bump map| 00:00 | I've added on more vents on my gas pump
and smoothed them out a little bit so they
| | 00:04 | do look like they are popped
out of the surface correctly.
| | 00:07 | I'm going to remember to select
this and break the connection of the
| | 00:10 | Transparency that it wants to put in
automatically. We could set a preference for
| | 00:14 | this also if we need, or we can just break it.
| | 00:17 | As we're not taking the final PSD across the
Unity, I'm fine just remembering to break it.
| | 00:21 | Now I'm going to add some
more detail on the sides.
| | 00:25 | I need some rivets and side panels,
as well as the holder for the nozzle.
| | 00:30 | I've got my PSD up, and right now I've
turned on my Specular and Color so that
| | 00:35 | they come across into Maya.
| | 00:36 | I'm going to turn them off
and work again in my bump group.
| | 00:40 | I'm going to add in a new layer for the
rivets, and I'll see what I need to make.
| | 00:40 | I've a got a layer for
ridges and one for the vents.
| | 00:47 | When I zoom in on this side, I can see
that there are four rivets here in the middle.
| | 00:52 | I also need this round hole here on the side;
it's going to be a separate layer.
| | 00:56 | I'll start out on the rivets,
as they're pretty easy to make.
| | 00:59 | I'm going to make a new layer, and I'll
rename this one to rivets. I'll zoom in.
| | 01:06 | The trick when you're making rivets is
not to make them at the actual size.
| | 01:10 | If we press M for Marquee or fly it out
and pick the Elliptical Marquee and make a
| | 01:15 | marquee the size of the
rivets--how about like that?--
| | 01:18 | it seems to look okay, but when we
zoom in, it's actually a very pixelated
| | 01:22 | piece of the circle.
| | 01:24 | What I'll do is make these quite big
and then reduce them down in size, pressing
| | 01:28 | Ctrl+D to deselect, zooming out
a little bit, and M for Marquee.
| | 01:33 | I'm going to make a giant rivet.
| | 01:35 | I'll hit this with a gradient, and
then I'm going to shrink it down.
| | 01:39 | What I'll do is eyedropper my
background color and just bring up the
| | 01:43 | Brightness little bit, maybe 2 points.
That way the rivets start out sticking
| | 01:48 | out from the surface.
| | 01:50 | Then I'll pick that background color
and go fairly bright with it. Press G for
| | 01:55 | gradient, which is under the
paint bucket. It's the same hot key.
| | 01:58 | In the Gradient I'm going to switch over
here to Radial, and I'll click and drag
| | 02:03 | from the center, holding Shift and dragging out.
| | 02:06 | Occasionally, I miss in the gradient
direction. There are a couple ways to
| | 02:10 | handle this. I'll Undo by pressing Ctrl+Z.
In the Gradients you've got a Reverse checkbox.
| | 02:15 | We could use that, and
now the gradient is flipped.
| | 02:18 | I'll click and drag, and there
is the rivet in the right direction.
| | 02:23 | The other one I'll do--because again,
going up to the top of the UI for me feels
| | 02:26 | like it slows me down--is I'll hit X to
swap foreground and background colors.
| | 02:32 | Because the gradient is set from
foreground to background, swapping those
| | 02:36 | colors here swaps the gradient.
| | 02:38 | Again, I can turn off Reverse, swap
the colors, and run the gradient in.
| | 02:44 | Now want I'll do is deselect by
pressing Ctrl+D and Ctrl+T for transform.
| | 02:50 | There are handles outside here and I can
click and drag on them so I can see them better.
| | 02:55 | I'll hit Escape and turn off
that bump base layer in gray.
| | 02:59 | Now when I press Ctrl+T. There is my handles.
| | 03:03 | I'll click and drag and hold Shift.
| | 03:06 | This keeps the scale proportionate,
and I can put my rivet down to the right
| | 03:09 | size, hitting Enter when I'm ready.
| | 03:12 | When I turn back on this bump base, there
is a rivet, and I can place it on my gas pump.
| | 03:17 | I'll zoom out and then zoom back in.
| | 03:20 | What it looks like I need is
just about halfway up, a rivet.
| | 03:24 | I'll take this rivet and snap it
right onto that line, or close to.
| | 03:28 | I'll hold Alt and clone, while holding
Shift and snapping it to the other place.
| | 03:34 | I can also nudge it.
| | 03:35 | What it's doing is exactly
snapping onto the vents, which is okay.
| | 03:38 | I'll move it over and then press
Ctrl+E to merge down the rivets copy layer.
| | 03:44 | Now I've got two rivets on one layer.
| | 03:46 | I'll hold Alt and clone them down again,
holding Shift to constrain the direction.
| | 03:51 | It makes me a new layer, copying the old one.
| | 03:54 | I'll press Ctrl+E to smash those down again.
| | 03:57 | There are the rivets on the side.
| | 03:59 | I'll go back and check that reference
one more time. And it looks like I could
| | 04:03 | space them out a little bit and maybe
move them down a touch, but they're in
| | 04:06 | the right place I think.
| | 04:07 | I'll look at it against
where the opening is on the top.
| | 04:12 | I'll zoom in and select them with a marquee.
| | 04:14 | I'm going to pick one side and hit V
for Move, and I'll nudge these over,
| | 04:20 | counting the number of times I tap the arrows.
| | 04:23 | There is 10 nudges to the left.
| | 04:25 | I'll press Ctrl+D to deselect, M for
marquee, and zoom in and grab the others, V
| | 04:31 | for Move, and nudge them 10 to the right.
| | 04:33 | I'll deselect by pressing Ctrl+D.
Now I've could use the Offset Filter as well.
| | 04:39 | It's really up to you how you want to do this.
| | 04:42 | I often nudge things around as I need
to, kind of move them over incrementally,
| | 04:46 | maybe a finer degree of movement that
I can do with the mouse or the Wacom.
| | 04:50 | I'll zoom out and there are the
rivets, and they will be on both sides.
| | 04:54 | Now I'm going to look at the gas pump
holder. Again, I'm going to zoom in and
| | 04:59 | I'm going to make some radial gradients.
| | 05:02 | I'll make a new layer,
and I'll rename this holder.
| | 05:06 | To start, I'll put in my circular
marquee pressing M for marquee, clicking and
| | 05:11 | dragging, and using the
mesh lines as a rough measure.
| | 05:14 | I think it's about that big.
| | 05:17 | I'll hit G for gradient, and I'm
going to switch around my gradient.
| | 05:21 | If we look at the reference, it
actually starts out with a little bit of an
| | 05:24 | edge, goes flat, and
then comes up in the middle.
| | 05:27 | I'm going to draw this all at once.
| | 05:30 | I'll click on my gradient, which is
right now set from foreground to background.
| | 05:34 | I can swap these around, dragging
these stops around as I need, even flopping
| | 05:38 | them over each other to
put them in the right place.
| | 05:41 | I'm going to bring the gray to the
left and then finally, this middle one, the
| | 05:46 | new one I've just added in,
will get slightly darker.
| | 05:49 | Instead of being a Brightness of 89,
I'll bring it down in the 85 or 82 range;
| | 05:53 | somewhere in there is good.
| | 05:55 | I'll add in another stop based on that one.
| | 05:58 | This is almost in the middle, and now I'll
put in one more and make this one brighter.
| | 06:04 | This is going to get me a two-step gradient.
| | 06:07 | I'll snug this in a little closer so
it's got a sharper edge. There is the
| | 06:11 | big flat area which is raised up, and then
here's the middle that raises up even further.
| | 06:16 | I can repeat this on the other side,
or I can stretch out this gradient and see
| | 06:21 | how it looks repeating across.
| | 06:23 | I'll try the latter method, taking this
stop and deleting it by dragging it off
| | 06:27 | and picking these two and pulling them over.
| | 06:32 | I'll see if this works
and is in the right shape.
| | 06:34 | I'll click OK, and onto my
marquee, I'll try it from the center.
| | 06:39 | It's good, but it's backwards.
| | 06:41 | I'll undo, check Reverse, and try it again.
| | 06:45 | There is that extra detail,
pressing Ctrl+D to deselect.
| | 06:50 | I can go in and finesse the gradients
if needed, but what I'm really after here
| | 06:53 | is that it's a plate that sticks out
from the surface, with a low little bit of
| | 06:57 | a gradient out of the edge.
| | 06:59 | I think I'm going to adjust the gradient, as it
seems like it sticks out a little too much.
| | 07:04 | It's very easy to get in and edit these.
| | 07:06 | I'll click on this first stop and pull
that color back a bit, maybe trying 75.
| | 07:12 | I'll pick the next key
over and set its key as well.
| | 07:16 | Here it is, at 75. And finally, I'll
take this key, the uppermost part, and bring
| | 07:21 | it back from 95, let's say to 85.
| | 07:25 | I'll also pull this over just a little bit
to see if I can get them in the right place.
| | 07:30 | I'll redraw my gradient, starting in
the center, holding Shift, and clicking and
| | 07:34 | dragging out to the side.
| | 07:36 | That's a little better.
| | 07:38 | It looks like when I zoom out
I've got that hole where the gas pump could go.
| | 07:41 | I'll actually put the
darkness in as part of the color.
| | 07:44 | That way it looks like there is a
recess there, because trying to do with the
| | 07:48 | bump in the gradient is going to look awkward.
| | 07:50 | We can keep adding on details, looking for
other places that are fixtures of the construction.
| | 07:55 | We want to start out when we are making a
bump and putting in the clean parts first.
| | 08:00 | In later videos, we'll add in rust
and add in the bumps and then add the
| | 08:04 | wear and tear on.
| | Collapse this transcript |
| Drawing the bump map for the front| 00:00 | In this video I'll look at adding
more detail to the bump map on the front.
| | 00:04 | I've got the rivets in on the side and
the hole where the gas pump nozzle should
| | 00:07 | be, as well as the vents.
| | 00:08 | Now I need to put in the extra recess, as
well as start to look at where the dials go.
| | 00:15 | What I've also done is to
update the PSD for this file.
| | 00:18 | In the Gas Pump material, it
now looks to the 02_04_start PSD.
| | 00:23 | I'll go over to Photoshop
and keep adding in detail.
| | 00:27 | Here in Photoshop, I've got
the 02_04_gas pump start PSD up,
| | 00:30 | and I've turned on the Specular and Color maps
so that I can see them when I update in Maya.
| | 00:36 | I'm going to look at the
reference and see what's next to paint.
| | 00:40 | And it looks like the things I need to
paint next are the chrome trim up here,
| | 00:44 | the light--or I think that's what that
is--and then this recess. Maybe it's a
| | 00:49 | missing panel or maybe it
should be a sign or something,
| | 00:52 | but I'm going to put it in
as a piece of trim at least.
| | 00:55 | I'll start out with this.
| | 00:57 | This is a chrome band going across the
front, so in the color it should look
| | 01:00 | like metal, but really, I
need to have the ribs in first.
| | 01:04 | They need to go just above those UVs for
those corners. A little bit of space will
| | 01:09 | work, as long as it stays flat.
| | 01:11 | I'll press Z to zoom and zoom in on my top UVs.
| | 01:14 | I'm going to land that strip right about here.
| | 01:18 | I'll go into the bump and turn off those
Color and Specular color groups as well.
| | 01:23 | In the bump will make a new layer.
| | 01:25 | It's okay to have lots of layers
because Maya just looks to the layer set
| | 01:28 | when you bring it in.
I'll rename this trim.
| | 01:32 | Now I'm going to make a marquee, pressing M
for Marquee, and I'd like to have a Rectangular.
| | 01:38 | What I'm going to do is
draw one rib and then clone it.
| | 01:41 | It's going to go right about here,
above this recess where the dials are.
| | 01:45 | I'll click and drag and draw and a
thin strip here--actually, a little bit
| | 01:49 | oversize, as I can shrink it
down after I draw the gradient.
| | 01:52 | I'll zoom in and pick my gradient.
| | 01:55 | What I'll do here is click on that
gradient and just choose Foreground
| | 01:59 | Background. This takes out the keys
I'd put in instead of being a custom
| | 02:03 | gradient, and just restores
it to the colors I've got.
| | 02:06 | I'm going to choose Reflected Gradient
here, and I'll start this gradient from
| | 02:11 | the middle and click and
drag up by holding Shift.
| | 02:14 | Looks like I'm backwards again
because the Reverse tab is on.
| | 02:18 | I'll turn that off and try it one more time.
| | 02:21 | There is a strip of that chrome.
| | 02:23 | Now what I'll do is clone that
and then get it in the right place.
| | 02:27 | I'll deselect by pressing Ctrl+D.
I'll hit V for Move and hold Alt and clone this.
| | 02:33 | Notice that Photoshop is
snapping those layers together for me.
| | 02:37 | I'll clone twice, and it's giving the
layers called trim copy, trim copy 2, and trim.
| | 02:42 | I think what I'll do is I'll take these
layers and space them out just a touch,
| | 02:46 | just a couple of nudges here, picking
both by holding Ctrl and nudging them up.
| | 02:51 | Now with those selected, I'll press
Ctrl+E and I've got my trim layer.
| | 02:57 | It's fairly big, as we can see here.
| | 02:59 | I do need to shrink it down.
| | 03:01 | What I'll do then is press V for Move,
Ctrl+T for Transform, and shrink it while
| | 03:07 | holding Shift to scale proportionally.
| | 03:10 | That looks pretty good right there.
| | 03:12 | It's about a match, maybe a little
bit taller than the band on the side.
| | 03:16 | I'll hit Enter to accept it, and now I'm
going to move it over and get in the right place.
| | 03:21 | Again, I'm going to clone it by
holding Shift+Alt while I drag.
| | 03:25 | I don't really care that
I'm making extra layers;
| | 03:28 | I'm going to use them
anyhow and smash them flat.
| | 03:32 | I'll take this and merge these down, pressing
Ctrl+E to merge those layers down into my trim.
| | 03:39 | One last thing is I'm going to make a new
layer and slide a color under the middle of it.
| | 03:45 | I'll drag in a marquee and just fill
this in something lighter than my gray,
| | 03:49 | picking my foreground and reducing it
slightly, pressing G, and clicking and
| | 03:54 | holding on the gradient
to flyout the paint bucket.
| | 03:57 | I'll fill that in and
maybe just deepen it a touch.
| | 04:00 | It looks like I need to make
sure it's moved underneath as well.
| | 04:04 | As long as you've got your layers managed
decently, you are in pretty good shape
| | 04:07 | to move stuff around.
| | 04:09 | Now I can adjust this layer using
Hue/Saturation, and I'll just play with
| | 04:12 | the Lightness a bit.
| | 04:13 | That the trim band, and it's working nicely.
| | 04:16 | So we can see I've got my trim,
and it sits right over there.
| | 04:21 | I can always take this and make it a
blending mode so it shows up correctly if
| | 04:25 | I don't like the way it's looking.
| | 04:27 | But I'm okay with it.
| | 04:28 | I can take out this layer, and there's that trim.
| | 04:32 | I could just take this and brighten it
up, pressing Ctrl+U, and again, bringing
| | 04:37 | that up a little bit.
| | 04:37 | I just want to make this a little bit
brighter, so it sticks out of the surface.
| | 04:43 | Now I'm ready to tackle the
light and the other pieces.
| | 04:46 | I'll zoom in, and I'm going
to make a panel down here.
| | 04:49 | What I'll do is use a marquee and refine
the edge by rounding it before I put in
| | 04:55 | a border or something similar to
get a little bit of a round edge.
| | 04:59 | I'll make a new layer, and I'll
drag in my rectangular marquee.
| | 05:03 | I can always center it after I'm done,
so as long as I've get the size right,
| | 05:07 | I'm not terribly concerned
exactly with where it is.
| | 05:10 | That's one of the benefits in
working in a layered workflow.
| | 05:14 | I'll choose Select > Refine Edge.
In the Refine Edge, I'll change the View mode
| | 05:20 | over to On Layers and make it Marching Ants.
| | 05:25 | Now I'm going to add in a radius, using
the Radius in here and cranking that up
| | 05:28 | until it looks right.
| | 05:30 | There is the Radius, probably somewhere
in the six range; that will work nicely.
| | 05:35 | A smart radius may give me
a slightly different look.
| | 05:39 | I'll click OK, and now I'm ready to
fill this in a slightly darker color.
| | 05:43 | What I'll do to produce a gradient
around here that looks like it bevels in
| | 05:47 | slightly is eyedropper that
foreground color, press G for the paint bucket,
| | 05:52 | and make sure I change that foreground
color to something a little bit darker,
| | 05:56 | let's say from 50 down to 48.
I'll fill that in and contract the selection,
| | 06:03 | choosing Select > Modify > Contract.
| | 06:06 | I'll pull it in by a couple of
pixels and darken that color again,
| | 06:11 | going from 48 down to 45.
| | 06:15 | I'll do this one more time, adjusting
the foreground color down to, let's say 40,
| | 06:22 | and contracting the selection,
choosing Select > Modify > Contract.
| | 06:28 | I'll deselect by pressing Ctrl+D.
Now I've got an inset here, and when I put the
| | 06:34 | color on with stuff in there--I
am not really sure what it is--
| | 06:38 | it should look like a
recess piece into the gas pump.
| | 06:41 | I'll name this layer Recess and
update that PSD and see how it looks.
| | 06:45 | I'll make sure here, when I save, that
I turn on the Specular and Color Maps,
| | 06:50 | and I go and save this as a different version.
| | 06:53 | I'll save it as 02_04_gas pump_end.
| | 06:58 | I'll go back to Maya and swap
in that new PSD and then update.
| | 07:03 | I'm going to click on the color
and go browse over to that end file.
| | 07:08 | I'll go back up to the material and
change the bump as well. If you saw there, it
| | 07:13 | just put in that transparency for me again.
| | 07:16 | I'll go back and make sure I break
this, right-clicking on Transparency and
| | 07:19 | breaking that connection.
| | 07:22 | I'll scroll down and update
the specular color as well.
| | 07:26 | There's the trim band, and it's working nicely.
| | 07:29 | I've got a little but of a flicker to it, and
I need to make sure it's in the right place;
| | 07:34 | it looks like it's a little bit off.
| | 07:35 | The recess looks good.
| | 07:37 | It's got a neat edge to it,
which is some kind of beveling in there.
| | 07:41 | I do need to move that trim up,
| | 07:42 | and I can start on the
color and the panel as well.
| | 07:45 | Also, I need to start painting in the
general rusty color of my gas pump, and
| | 07:49 | I'll do that in the next videos.
| | Collapse this transcript |
| Adding details to the panels| 00:00 | In this video I'll add some detail
into the panel where the dials are.
| | 00:04 | I'll zoom in and make some new
layers for them to have their bumps.
| | 00:09 | I'll turn off the color and turn of
the specular color as well, opening up the
| | 00:13 | bump group, and I'm going
to make another new layer.
| | 00:17 | If you notice, it made my
layer outside of that group.
| | 00:19 | If that happens, you can always take
that layer and drag it into the group and
| | 00:23 | then pull it up to where you need.
| | 00:24 | I'm going to grab it, pull it up to
the top, and I'll name this one dials.
| | 00:29 | I'll go back and take a look at the
reference and see what I need to make.
| | 00:34 | It's a little fuzzy, but really, what it
looks like is that it's a fairly flat panel.
| | 00:38 | There is just some small rectangular
recesses in here and maybe a couple of rusty rivets.
| | 00:44 | It doesn't hurt to add on some extra detail.
| | 00:46 | What I'll also do is go look at some
other gas pumps and see if it's in the
| | 00:50 | right direction or if I need to add more to it.
| | 00:52 | These gas pumps have glass in them,
so that's not really a good indicator.
| | 00:57 | This one's a little better.
| | 00:58 | It might be a different gas pump, but
we can see how these need to recess.
| | 01:02 | It's actually got some kind of fold
going on here, and then these dials are
| | 01:06 | punched from the back
| | 01:07 | so it sticks out slightly, and then these
are removed and the dial rotates within it.
| | 01:12 | I'll probably do something like this so
it's got a little extra surface to it,
| | 01:16 | and I'll see if I can add in
some small dots for some screws.
| | 01:20 | Don't be afraid to add in some detail.
This is the kind of thing that we stand a
| | 01:24 | chance of, well, standing very close to.
| | 01:26 | Remember, in a game our controller, is
a little bigger than person height.
| | 01:30 | In Unity, the default controller is 2 meters
high, so we can get very close to this gas pump,
| | 01:36 | so we need the detail in the dials correctly.
| | 01:38 | What I'll do to start out is make a new marquee.
| | 01:42 | This is going to be for the
pop-out where the dial themselves are.
| | 01:46 | I'll zoom in, and in that
marquee I'm going to put a gradient.
| | 01:50 | Here is a trick though. There is a
four-corner gradient, and what this gives me is that.
| | 01:56 | It's actually what I want, but I need to
stretch it, and here's how this will work.
| | 02:00 | Instead of a rectangular marquee, I'm
going to draw a square, pressing M for
| | 02:04 | marquee and clicking and
dragging while holding Shift.
| | 02:07 | I'm going to land my four-corner
marquee in here and then start to stretch it.
| | 02:12 | I'll eyedropper that base color.
| | 02:14 | Remember that even though this is all
the same color, this polygon is actually
| | 02:19 | recessed, so I don't need to
darken the panel polygons.
| | 02:23 | Back here in my marquee then, once I've
eyedroppered my base color, I'll hit X to
| | 02:28 | swap colors and then pick the
foreground and make it a little bit brighter.
| | 02:32 | That's going to help these pop out.
| | 02:33 | I'll press G for gradient and go in
the center of the square, hold Shift, and
| | 02:39 | drag that gradient out.
| | 02:41 | There is my four-corner gradient.
| | 02:43 | If it takes couple of tries to draw it
right, that's okay. I'll draw it one more
| | 02:47 | time, and it looks pretty good.
| | 02:50 | It's on a separate layer, so what I'm
going to do now is draw in a new marquee
| | 02:54 | and grab half of it.
| | 02:56 | I'll make sure my marquee is right
on the center, or as close as I can.
| | 03:00 | I'll hit V to move and drag it over.
| | 03:03 | I'm going to spread this out so it
looks like that piece of folded metal.
| | 03:08 | Now I'm going to take these center
polygons and start to clone them.
| | 03:11 | I can either do this with another
gradient or I can do it by grabbing and
| | 03:15 | pulling and cloning.
| | 03:17 | We've got any number of ways to do this.
| | 03:19 | I'm going take one
polygon here, hold Alt, and nudge.
| | 03:24 | While I'm nudging, it's cloning.
| | 03:26 | I'll keep doing this and holding Alt and nudging
just to clone it along here. It's fairly fast.
| | 03:32 | I can do this fairly nicely, and I know
I'm getting an exact match versus making
| | 03:36 | a new gradient that might
be just a little bit off.
| | 03:40 | Because I'm using a marquee selection
on those pixels and I'm nudging them over,
| | 03:43 | it's staying on that same layer.
| | 03:46 | I'll deselect, zoom out, zoom in
again, and see if I'm in the right place.
| | 03:52 | It looks like it could be
just a little bit bigger here.
| | 03:55 | I'll press Ctrl+T and with this
selected, grab right on the corner.
| | 03:59 | I'll Shift and scale this out just a touch,
| | 04:03 | maybe just a little bit on the
vertical, and I'm in good shape.
| | 04:09 | Now I'm going to punch out the dials.
| | 04:11 | I'll press M for marquee.
| | 04:12 | What I am actually going to do on
this is draw a separate piece and hit it
| | 04:17 | with a darker color.
| | 04:19 | I'll pick my foreground, drop
in a much darker gray, and hit G,
| | 04:23 | but G doesn't take me to the paint bucket.
| | 04:26 | Remember that G is mapped too both
gradient and paint bucket, so I'll fly out
| | 04:30 | the gradient and pick the bucket.
| | 04:32 | I'll put that in and Hit V for Move.
| | 04:36 | I'll move this into the right place.
Here's one and holding Alt to clone, there's 2, 3, and 4.
| | 04:44 | My dials are in the right place.
| | 04:46 | They pop out of the surface in
their metal and then they recess in.
| | 04:51 | Now I can take this whole thing
and move it to where it needs to be.
| | 04:55 | I'll check the reference.
| | 04:57 | This one has it in the middle.
| | 04:58 | The one I'm using has it
kind of off to this side.
| | 05:01 | I'm going to leave mine off to this
side, so I get some writing, or what at least what it
| | 05:05 | appears to be over here.
| | 05:07 | This one also has two of those, one for the
gallons and one for the dollars and cents.
| | 05:13 | I'll take this dials layer, press M for
marquee, and select all of what's on that layer.
| | 05:18 | Hit V to move and hold Alt and clone this up.
| | 05:22 | Now what I'll do is deselect and just select
and delete a little bit of the cents dials.
| | 05:29 | They're a little shorter in the reference.
| | 05:31 | I'll zoom out and see how this looks.
| | 05:34 | It looks like I'm ready to start my on color.
| | 05:37 | I do still need to move his trim over,
so I'll move it over and make sure
| | 05:40 | it's in the right place.
| | 05:42 | Here's how I'll do this,
and I'll update the PSD afterwards.
| | 05:46 | What I'll do is pick a face--let's say
the front here where this trim needs to
| | 05:50 | go--and I'll add to that selection a little bit.
| | 05:53 | I'll press F3 to go to my UVs, and under
Edit UVs, go back into my Texture Editor.
| | 05:59 | In the editor, I can see which ones are which.
| | 06:02 | Those chosen on the top are
actually the top of the front.
| | 06:05 | It looks like I need to
just move this up a little bit.
| | 06:08 | I can tell just by
selecting which pieces are which.
| | 06:12 | This is the front, and over here this is the top.
| | 06:15 | One of the things is important to do is
to pick different faces and say, where do
| | 06:19 | they show up on the model?
| | 06:21 | This is actually the front of the top, or the
back depending on how I want to look at it.
| | 06:26 | And I want to make sure that I'm
putting this in the right place.
| | 06:29 | I'll check the reference and
move the trim strip just a little.
| | 06:34 | I'll zoom in, and it looks like
I just need to move it up a bit.
| | 06:38 | I'll right-click on it and
there it is, called trim copy 2.
| | 06:42 | I'll pull this up, and now
it's in the right place.
| | 06:45 | What I'm going to do is to
save this PSD as 02_05_end.
| | 06:50 | Then I'll go back and replace
it in Maya and see how it looks.
| | 06:56 | Back here in Maya I'm going to go
back to Object mode and pick the object.
| | 07:00 | I'll go into those textures for
specular and color and bump and swap out the
| | 07:05 | right PSD, 02_05_gas_pump_end, clicking on
the bump layer and picking the right one.
| | 07:12 | I'll pick the pump.
| | 07:13 | I'm going to click on the color texture in that
gas pump material and click on that file node.
| | 07:19 | I'll go find 02_05_gas_pump_end.
| | 07:22 | The PSD updated. Again, it
brought in the transparency.
| | 07:26 | It looks like I can move down the trim strip
just a bit, but this one's in the right place.
| | 07:30 | The vents are in, and there's the
dials in the middle of this recess.
| | 07:34 | Because it's recessed geometry,
I don't need to worry about it in the bump.
| | 07:39 | I'm ready to get the color on,
starting out with the clean gas pump and then
| | 07:42 | adding rust and general wear and tear.
| | Collapse this transcript |
| Painting the diffuse texture and planning the layers| 00:00 | With my bump in place, I'm
ready to start on the color.
| | 00:03 | It's really up to you which one you're going to
paint first: color or bump, or even specular.
| | 00:08 | I started with the bump because there are
things I need there, such as the ribs, trim,
| | 00:12 | and vents, that having the bump in
makes it easy to select the color.
| | 00:16 | Ultimately, if there are colors you need in
there to be able to select and make the bump
| | 00:20 | from them, go ahead and do it that way.
| | 00:22 | As long as you end up with both,
it's really not a big deal.
| | 00:25 | What I'll do now is to look at the reference
and see how to paint this and what layers
| | 00:29 | I'm going to need.
| | 00:30 | I'll go into the gas station reference I've
got, and there's that pump. I'll zoom in.
| | 00:37 | And it looks like I need a
couple of things to start.
| | 00:40 | This pump at one time was
hopefully a nice-looking red.
| | 00:43 | It was red on the sides and the top, with a
white front, but a red panel right in the
| | 00:48 | middle, so I need to make sure I establish
those parts in separate layers so that I can
| | 00:52 | scratch and degrade them correctly.
| | 00:55 | The red paint has been very thoroughly
rubbed or scratched off right here.
| | 00:59 | On the side then, I'm also
going to need layers for rust.
| | 01:02 | There are places where the paint has worn
away, and then there's rust on the surface.
| | 01:07 | The same goes for the top, which having been fully
exposed to the elements, is thoroughly rusty.
| | 01:13 | Then I'll need layers in the diffuse channel
for things like the writing and other markings.
| | 01:18 | And finally, I need to make the
light and if there's any screws.
| | 01:22 | Sometimes things like screws are better shown
simply as a bump; they're so small they really
| | 01:26 | register as slight dots
more then anything else.
| | 01:29 | I'm also going to add in a
slightly different texture for the base.
| | 01:32 | I'll need to make sure this shows up in
the bump as well, and I can go back and do
| | 01:36 | that easily with a couple of quick lines.
| | 01:38 | What this means here in my PSD is I'm going to
make some layers as part of my planning process.
| | 01:44 | It's a good idea to think through not only
how did this look when it was clean, but how
| | 01:48 | did it get dirty or worn?
| | 01:50 | When I saved out that PSD, I had turned on my
color and specular layer so I didn't get
| | 01:54 | an error in Maya.
| | 01:56 | I'll turn them off and now turn off that bump layer
as well, turning on the color and opening it up.
| | 02:02 | I am going to rename layer 1 to base color,
and I'm probably going to make this maybe
| | 02:08 | a little more vibrant.
| | 02:10 | I'll come in later and start to fade it out.
| | 02:13 | I'll press Ctrl+U and just crank up the
saturation a touch. It's a good vibrant, warm red.
| | 02:20 | Here are the layers I know I am going to need.
| | 02:22 | I'll make one new layer and
I'll rename this to white panel.
| | 02:26 | I'll make another new layer
and rename this to red front.
| | 02:31 | By the way, if you find you don't like
staying over at the right side of the screen, grab
| | 02:36 | the Layers palette and
tear it off, open it up.
| | 02:39 | What I've also done here to make it easier to
see is I've dropped down on the Layer menu
| | 02:43 | flyout and gone into the Panel Options.
| | 02:46 | In the options I've made my thumbnails big.
| | 02:48 | I like to be able to see what I'm doing here.
| | 02:50 | There is the white panel with a red front and now
a separate layer in here we'll call Dials.
| | 02:57 | This will do for now,
at least in the base color.
| | 03:00 | I also I'm going to need some rust layers.
| | 03:03 | I'll call these first one Rust skim, a light
coating of rust in places that I'll paint first.
| | 03:10 | Then I'll put in another
layer here called Rust bubbles.
| | 03:14 | This one will be the more pronounced rust.
| | 03:16 | It's a good idea to kind of
think through the parts you need.
| | 03:19 | Remember that things get worn and degraded
over time, and so we need to plan our layers
| | 03:24 | to build up like that, rather than
simply trying to paint it all at once.
| | 03:28 | With these in place now, I'll start in on
the painting, getting the clean colors in
| | 03:33 | and then scratching them up.
| | Collapse this transcript |
| Painting the base coat and the logo| 00:00 | In this video, I'll look at painting in
the red and white on that gas pump, and
| | 00:05 | then adding in some of the general other colors.
| | 00:07 | What I'll do to start out is get the
white overlay on the front panel here.
| | 00:12 | By the way, I've unwrapped it.
| | 00:13 | I've already got the border of that
white paint in cleanly, and I've even got
| | 00:17 | polygons right here to be
able to put the red in nicely.
| | 00:20 | I've made my layers as part my planning process.
| | 00:24 | If you're tired of working on the
side, you can always grab the Layers
| | 00:27 | palette and drag it over.
| | 00:29 | I've also gone into the Layers
palette and under Panel Options, made the
| | 00:33 | Thumbnail Size large.
| | 00:35 | Now I'll scroll down and pick the white panel.
| | 00:38 | Then I'll take this Layers palette
and dock it back over here again.
| | 00:43 | I'll use my marquee, pressing M and
selecting a large region right over the
| | 00:48 | front panel of the gas pump, overlapping by
just a touch in case there's any texture spilling.
| | 00:53 | I'll eyedropper my white
color for my gas station.
| | 00:57 | Here's the reference image.
| | 00:58 | When I eyedropper this, what we think
is white here in the picture, when I
| | 01:02 | click on the foreground color, is actually a
fairly bright gray with a tiny bit of color.
| | 01:07 | What I'm going to do for my color,
because I'm going to have my lighting in
| | 01:10 | game, is to brighten up this color
considerably and then bring up the
| | 01:14 | saturation just a touch,
| | 01:16 | so there is the
slightest bit of warmth in there.
| | 01:19 | Now I'll go back over, and I'm going
to fill that marquee, making sure I'm on
| | 01:23 | my white panel layer.
| | 01:25 | I'll press G, and it takes me to the
paint bucket, and there's the fill.
| | 01:29 | I'll deselect by pressing Ctrl+D.
Now what I need to do is get the red strip
| | 01:34 | across the middle in.
| | 01:35 | I'll look back at the reference, and it
looks like that red needs to come from
| | 01:39 | just under the trim to just
below the window where the dials are.
| | 01:45 | Here's the red front panel layer, and
temporarily, I'm going to turn off that white.
| | 01:49 | This lets me see in my
mesh lines a little clear.
| | 01:52 | What I can also do is turn
off and on other components.
| | 01:56 | I'll turn on my bump layer, scroll
down in there, and turn off the bump base.
| | 02:01 | So now I've got the bump overlaying on
the diffuse without the bump base, and
| | 02:05 | I've got a clean marker
where this chrome trim strip is.
| | 02:08 | I'll press M for marquee, and
I'll put in a marquee right there.
| | 02:13 | And I'm actually going to let it
go right under that chrome strip,
| | 02:18 | as later I'll come back and put a color
on that overlapping on a separate layer.
| | 02:22 | What I'll do is scroll down in my
layers and pick the red front layer if
| | 02:26 | it's not already active.
| | 02:27 | I'll eyedropper my base color and then
press G for the paint bucket and fill that in.
| | 02:34 | Finally, I need to subtract
the dials from that red front.
| | 02:38 | In this case, what I'm going to
do is use the Magic Wand to select.
| | 02:42 | I'll go up and pick my UVSnapShot
layer and press Ctrl+D to deselect.
| | 02:46 | I'll press W for Magic Wand, and I'll
start to magic wand those polygons.
| | 02:51 | You can always zoom in if
you can't see things clearly.
| | 02:54 | With my Magic Wand on, I'll pick the
polygons in the middle here on that dial.
| | 03:00 | I'll also pick polygons on the surrounding area.
| | 03:03 | That way it's white all the way out.
| | 03:06 | I'm holding Shift to add to the
selection, and I've selected all the way around.
| | 03:10 | Now what I'll do is choose
Select > Modify > Expand.
| | 03:15 | With a little bit of expansion, I can catch the
white lines in here so I have a continuous area.
| | 03:20 | I'll expand out by three pixels.
| | 03:23 | Now it's a continuous piece, where
that white needs to be in the dials.
| | 03:27 | I'll check here in the reference one more
time and make sure I'm in the right place.
| | 03:32 | It looks pretty good. It looks like the
red needs to stop right on that edge.
| | 03:36 | I can always come in here
and contract it if I need,
| | 03:38 | choosing Select > Modify > Contract.
| | 03:42 | I'll pull it in by a couple of pixels.
| | 03:45 | I'll scroll down, and there is that red front.
| | 03:49 | I'll delete that piece, and then I'll turn
back on my white panels, and now I'm set.
| | 03:54 | I've got my clean red paint with a white
recessed section for where the dials are.
| | 03:59 | I've also got my white panel
and my red overcoat on everything.
| | 04:03 | What I'll do is save this PSD and
update in Maya and sees if this works.
| | 04:08 | I'll deselect by pressing Ctrl+D.
I'll go back up and make sure in my bump group
| | 04:13 | I turn back on that bump base.
| | 04:15 | Then I'm going to roll up these layers
and just check and make sure everything
| | 04:19 | is visible correctly.
| | 04:20 | There is the color, and there's the bump.
| | 04:24 | I'll turn off the UVSnapShot and
save out this PSD as 02_07_gas_pump_end.
| | 04:31 | Back here in Maya, I'm going
to update that PSD once again,
| | 04:35 | clicking on the bump layer
and picking the right one.
| | 04:39 | In the color, I'll pick the 02_07_gas_
pump_end, and it's going to put it back in
| | 04:44 | the transparency as well. That's okay.
| | 04:46 | I can always break that connection.
| | 04:48 | I'll update the specular, just to make sure
and consistent, and then I'll see how it looks.
| | 04:54 | It gave me that warning at the
bottom: the layer is empty, et cetera.
| | 04:58 | That's okay. I haven't done
anything with the specular yet, so I'm not
| | 05:01 | concerned about it.
| | 05:03 | If I deselect and look around,
my gas pump is coming together nicely.
| | 05:07 | Right now it's clean, but at least
I've got all the parts in the right place.
| | 05:12 | I'm ready to start scratching the
red and revealing the white underneath.
| | 05:16 | I've got the white showing,
and it's ready for the chrome trim.
| | 05:19 | I'm also ready to start rusting and
degrading the sides, which I'll do in
| | 05:23 | the next video.
| | Collapse this transcript |
| Adding labels and other markings| 00:00 | In this video, I'll look at putting
labels on the dials here, and I'll also put
| | 00:04 | some other markings on the gas pump.
| | 00:06 | Before that though, I realized I made a
goof on the gas pump and I put the white
| | 00:10 | band above this trim line too low.
| | 00:13 | What I am going to do then is show how
to make a fix here and do some cutting,
| | 00:17 | moving, and sewing on the
UVs and putting them back in.
| | 00:21 | One of the important things to
realize is that it's an iterative process.
| | 00:24 | You'll spend time on doing this and
possibly redoing some things, making sure it
| | 00:28 | looks right and revising work occasionally,
| | 00:31 | so don't be afraid to do that.
| | 00:32 | What I'll do is double-click on the
Move tool and here in the Move Settings,
| | 00:37 | I'll check Preserve UVs.
| | 00:39 | Then I'll close this and now
I am ready to do some editing.
| | 00:42 | I'll press F9 for Vertex, and what I
realized is that I need more white above this trim.
| | 00:48 | I have decided, instead of having a two-
point corner, that I'd rather draw in a
| | 00:52 | smooth curve in Photoshop
where the white and the red meet.
| | 00:56 | I'll select these vertices, knowing that
I am actually selecting four vertices in
| | 01:00 | the front and the back in this case.
| | 01:02 | I'll pull them up and then
press R to scale them out.
| | 01:06 | I'll scale them out straight, and now I am
ready to remap these six polygons on top.
| | 01:12 | I'll go into my UV Editor.
| | 01:14 | I can see the vertices I've got
selected, and I can see the adjacent polygons.
| | 01:18 | What I am going to do is
press F12 for UVs and W for Move.
| | 01:22 | I'll pick these two UVs across the
bottom of those faces and hold Shift and grab
| | 01:26 | their opposing ones.
| | 01:28 | Now I'll press Ctrl+F11 to convert that
selection to faces, and under Polygons,
| | 01:33 | I'll choose Split UVs.
| | 01:35 | What this has done for me is take those UVs
and split them out into separate shells.
| | 01:41 | I'll pick all three and pull them over
where they need to be, on the side here.
| | 01:46 | I'll do the same over on the other side.
| | 01:50 | I'll rotate these, using the
Rotation up on the top, and getting them in
| | 01:53 | straight, making sure I don't accidentally
move pieces out of the way while I am selecting.
| | 01:58 | I'll rotate these counterclockwise,
and now I'm going to move and sew them
| | 02:02 | into the right place.
| | 02:04 | I'll right-click and pick Edge and press W
for Move to get out of the Move Shell tool.
| | 02:09 | I'll pick the bottom edges,
holding Shift to add to the selection.
| | 02:12 | We can see their corresponding
edges are selected here in orange.
| | 02:16 | I'll right-click and choose Polygons >
Move and Sew, and it sews those perfectly on.
| | 02:23 | We can see I have a minor issue here,
| | 02:25 | as those UVs have overlapped. There is
one thing to do before moving and sewing.
| | 02:29 | I'll undo and show what this is.
| | 02:31 | If you notice while I was moving things,
I was grabbing one shell and pulling it.
| | 02:35 | Because I had selected those faces and
split their UVs, they actually split into
| | 02:39 | three different pieces.
| | 02:40 | Before I move and sew them, I am going
to pick these shells, right-click, and
| | 02:44 | under Polygons, I'll choose Merge UVs.
| | 02:49 | These four UVs where the two polys lap
over will now be merged into two, one
| | 02:54 | instead of two there at each corner.
| | 02:57 | Now when I pick this shell, it's one
piece, and when I do a Move and Sew, these
| | 03:02 | won't split over each other.
| | 03:03 | I'll do the same on the other
shells here, right-clicking and choosing
| | 03:07 | Polygons and Merge UVs.
| | 03:10 | Now I'll right-click, choose Edge,
make sure I hit W for Move, and select
| | 03:15 | these bottom edges.
| | 03:16 | With my edges selected, I'll right-
click and choose Polygons > Move and Sew.
| | 03:22 | It's sewed them on and I can go
eliminate the distortion in a minute.
| | 03:26 | I'll do another Move and Sew here on
the other piece and hit G to repeat last,
| | 03:30 | making sure I have them all selected of course.
| | 03:33 | Now I am going to even them out.
| | 03:35 | I've introduced in a little bit of distortion.
| | 03:38 | We can see that in that the polygon shape
here goes in while mine actually go out.
| | 03:43 | What I'll do then is right-click and
pick UV, pick these top rows of UVs, and
| | 03:48 | scale them slightly.
| | 03:50 | I'll pull them in so they
start to match the polygon geometry.
| | 03:54 | Then I'll grab the top here
and just pull them down a bit.
| | 03:57 | Now the question would come up, how do
you handle this overlap? What do you do?
| | 04:02 | What I should probably do is take
this set of UVs and scale it in.
| | 04:07 | This is going to be slightly messy,
but because I have got a layered workflow, I
| | 04:11 | can accommodate it in Photoshop.
| | 04:12 | I am going to pick these
shells and scale them down slightly.
| | 04:15 | Sometimes we'll get in places where we
just need some revision, and it's okay to
| | 04:20 | go through and do this.
| | 04:22 | It's better to have it laid out right
and faithful to the concept art than to be
| | 04:26 | halfway along and if you have
to go back and fix, it's OK.
| | 04:30 | I'll right-click and pick Object
mode, and now I'm ready to make that fix.
| | 04:35 | I'll press F6 to go back to the
Rendering section and under Texturing, I'll
| | 04:39 | edit my PSD network.
| | 04:41 | It's set to go to that start.psd.
| | 04:44 | I'll check Open Photoshop
and leave everything alone.
| | 04:47 | I'll hit Edit and then Apply.
| | 04:49 | It will take a minute and
bring it over to Photoshop.
| | 04:54 | I'd like to update this PSD I have opened.
| | 04:56 | What we can see here is that it
brought in that new snapshot. My UVs--and I'll
| | 05:01 | show it by zooming in at the top--are now the
new UVs put in the place I had just put them.
| | 05:07 | What I need to do then is just go into
my bump map for the front elements and
| | 05:11 | move the pieces into the right place.
| | 05:13 | It's a fairly easy fix and the
interoperability is a big plus.
| | 05:17 | I'll zoom in, open up my layers,
and start to move some things around.
| | 05:22 | I'll turn off the bump and make sure
I have got the red in the right place.
| | 05:26 | It looks like this red
panel needs to slide down a bit.
| | 05:29 | I'll hit V for Move, right-
click, and there are those panels.
| | 05:33 | I'll pick red front.
| | 05:35 | I'll pull this down a little bit
and make sure it's in on the UVs.
| | 05:38 | It may be helpful at this point to
turn off those white panels so I can see
| | 05:42 | what I'm doing, and also
turn off the red base layer.
| | 05:45 | I'll even turn off the background
so I can see it against transparent.
| | 05:49 | One of the things I'll do sometimes in
unwrapping as well is to scroll up, pick
| | 05:53 | the UVSnapShot, and Invert it by
pressing Ctrl+I. Instead of white lines, now I
| | 05:58 | have got black lines, and it may
be easier to see in some places.
| | 06:02 | I'll make sure I've got this layer
selected, and I'll nudge it into the right
| | 06:05 | place, lapping over those UVs nicely.
| | 06:08 | Now it's right on, and I'll
check it all the way around.
| | 06:11 | It looks like I need to shrink down slightly.
| | 06:14 | I can shrink it or I can
reselect it and remake it.
| | 06:18 | I might take this second option, using
the same things I've done previously with
| | 06:21 | selecting the polygons and
expanding and contracting a selection.
| | 06:25 | For now, I'm going to clear out
this layer, pressing Ctrl+A and delete.
| | 06:30 | I'll delete it, turn on the white panels,
and I am ready to put in the labels for the dials.
| | 06:35 | With the white panels on, I am going
to show the bump, making sure I turn on
| | 06:39 | that bump group and turning off that bump base.
| | 06:42 | I am going to move those dials down.
| | 06:45 | Again, I can right-click
on a layer and choose it.
| | 06:47 | There it is, under its layer set.
| | 06:49 | I'll grab the dials, pull them down
into place, and then go back in the Color
| | 06:53 | group and add in the labels.
| | 06:56 | I have selected the Dials layer, and in
here what I'll do is put in some numbers
| | 07:01 | or something going on
on those dials themselves.
| | 07:05 | I also need to put some text in.
| | 07:07 | I'll start out by magic wanding that gray.
| | 07:10 | What I'll do sometimes, instead of
switching back and forth between layers in the
| | 07:14 | Layer palette, is right-click and
choose the layer, magic wand what I need--
| | 07:19 | selecting these as an example--and
then I'll switch back to the Dials layer.
| | 07:24 | As we can see here, we can't see it, and
the reason is there's no color on it yet.
| | 07:29 | In this case, I do have to go back to
the Layer palette, but I'll try to do this
| | 07:33 | by right-clicking whenever possible.
| | 07:35 | Now I am going to put on a little bit of a
gradient, as if they were a little bit round.
| | 07:40 | I'll eyedropper this white and then set
the background color to the foreground
| | 07:44 | and reduce the brightness slightly.
| | 07:47 | It's just a little bit in shadow.
| | 07:49 | I'll zoom in and I'm on my Dials layer,
| | 07:52 | so I can actually hide that
layer for the bump if I want.
| | 07:55 | I'll press G for gradient or paint bucket in
this case, fly it out and pick the gradient.
| | 08:00 | I am going to use a reflected gradient,
and I'll hold Shift and click and drag.
| | 08:06 | It worked; I just can't see it.
| | 08:08 | I'll make sure I turn off that
Dial layer and see how this went.
| | 08:11 | I am actually okay with it, that one
is dark and the gradient is down here.
| | 08:17 | If you'd like, you could always
deselect part of this and draw the gradient
| | 08:21 | in a different place.
| | 08:22 | I don't mind them looking slightly grungy.
| | 08:25 | I'm holding Shift while dragging from
the center to make that gradient, and now
| | 08:28 | these dials look round.
| | 08:30 | Now I'll add in some other markings.
| | 08:32 | I'll press T for Text, and I'm going to
go down to my Color group and make sure I
| | 08:37 | have got a layer selected.
| | 08:38 | With the Dials layer selected, when
I click on the drawing for text, it
| | 08:42 | actually makes a new layer.
| | 08:44 | I'll put in a 1 and hit Ctrl+Enter.
| | 08:48 | There is that text, and it's in white.
| | 08:50 | I could take this and leave it in white or
select it, pick the text, and make it black.
| | 08:56 | I can also find a suitable font if I
need, if I think I am going to see it.
| | 09:00 | I have dropped down in my Fonts menu, and
I am going to scroll up and use Niagara
| | 09:04 | Solid, an actually very Deco font.
| | 09:07 | I'll make this a little bit bigger,
let's say 24 point, and land it in the
| | 09:11 | middle of the dial.
| | 09:12 | I'll go through and add in the rest
of them so that by the time I am done,
| | 09:15 | we'll see numbers of some sort on these dials.
| | 09:18 | Even if we can't completely recognize
them when we are zoomed out, there is
| | 09:22 | stuff going on in the right place.
| | 09:23 | We are going to reduce this
in size anyway in the game.
| | 09:25 | It's going to come out of a
maximum of 1024, and possibly down to 512.
| | 09:30 | This will result in greeking of the text,
which means the text basically shows up
| | 09:34 | as blocks, because we're out too far
to see the individual letterforms.
| | 09:38 | It's really that we have stuff in the right
place, so we think we're seeing the right thing.
| | 09:43 | I can do the same thing, clicking on T
for Text and adding in more text over here.
| | 09:48 | I can type in nearly anything and just make
it small enough that it basically blurs together.
| | 09:53 | I'll put this in as "Gasoline Company"
and put in a label that says "Flammable."
| | 10:00 | Right now, this is fairly big.
| | 10:02 | We can read this text fairly clearly.
| | 10:04 | In a label like this, we might see
something that is 12 point, or even 10.
| | 10:10 | We are getting to the point
where it's really degrading to stuff.
| | 10:15 | And this will work nicely.
| | 10:17 | If we care to zoom in, we can
actually see and edit it, but we can tell
| | 10:20 | that it's letterforms.
| | 10:22 | As long as it looks right, we are okay
with it, because we expect those kind of
| | 10:27 | details to be there, even if we can't read them.
| | 10:29 | I'll finish out the fixes on this gas
pump, making sure I have got the white in
| | 10:33 | the right place, the recess here for
the dials colored in white with the red
| | 10:37 | around, and move this trim up.
| | 10:39 | It takes a few minutes, but it's worth
it to do it, to get this looking right
| | 10:43 | and get the right parts in the right place.
| | Collapse this transcript |
| Adding soft rust| 00:00 | In painting a texture, paint it
clean first and then add rust.
| | 00:04 | That's what I'm going to do in this video.
| | 00:06 | I've started out with my gas pump clean.
| | 00:09 | It's missing the hose and the nozzle,
but the gas pump itself is all together, with
| | 00:12 | all the paint in the right places.
| | 00:14 | Now I'm going to start to add
on the rust in a couple of layers.
| | 00:18 | I'll go over to Photoshop and look at
the reference and start to paint this in.
| | 00:23 | Here in Photoshop, I'm going to pull
up my reference image, and we can see
| | 00:26 | where this is rusted.
| | 00:28 | The top, having been in full sun and
having had the water hitting directly on
| | 00:31 | it, is the most rusty.
| | 00:33 | The rust has then streaked down the sides
and also, the metal is gently rusting through.
| | 00:38 | So, what we need to do is to paint in
the rust in layers here, rusting out the
| | 00:42 | top almost completely and
then streaking the sides.
| | 00:45 | We've got really good textured
boundaries here where the red and white meet.
| | 00:49 | We can actually see that rust
almost stops at the white there.
| | 00:53 | We need to keep in mind that any
painting on one side will show up on the other,
| | 00:57 | so I want to make sure that it's
workable and streaky, but not overly rusty in a
| | 01:01 | pattern that I can discern.
| | 01:03 | My one ally is that I may not be
focusing on the gas pump the whole time.
| | 01:08 | I may be looking around the game at
other things going on, where I'm supposed to
| | 01:11 | go, or whoever is maybe out to get me.
| | 01:14 | So as long as the rust is reasonable, I can
paint one side and have it look pretty good.
| | 01:19 | I've got my 02_09_gas_pump PSD up.
| | 01:23 | To update it in Maya, I had
turned back all of my groups.
| | 01:26 | I am going to turn off the bump and
specular color and look at the color map first.
| | 01:31 | I've already made my layers for rust.
| | 01:33 | I will open up this Layers
palette a little bit by dragging over.
| | 01:36 | At one point, to do my text, I was
using the Character palette, which we can
| | 01:40 | access by choosing Window > Character.
| | 01:44 | I'll close this tab group.
| | 01:45 | Don't be afraid to move
around your UI as you need.
| | 01:48 | I'll press Ctrl+0 and I'll start out
rusting the top, zooming in on it and
| | 01:53 | getting ready to make it a little rusty.
| | 01:55 | In that color, I've got a Rust skim,
Bubbles, and there's the Chrome trim above it.
| | 02:00 | What I'm going to start out doing is
painting in that rust, concentrating most
| | 02:05 | of the rust up here in the
solid area of the texture.
| | 02:08 | That way any rust that bleeds over
can avoid this place where I need to
| | 02:12 | think about stitching it together, and I
should get a pretty good match for the reference.
| | 02:16 | To make rust, I'll pick a rusty color,
kind of a deep, dull orange, bring up the
| | 02:22 | Saturation a little bit, but
make sure that Brightness is down.
| | 02:25 | I'll pull off the Saturation just a
touch, and there's the start of my rust.
| | 02:29 | When I paint rust, initially I
am going to use a big soft brush.
| | 02:33 | I'll press B for brush, and use
my bracket keys to upsize that.
| | 02:37 | We don't want to go terribly giant so it
looks like the whole thing has been airbrushed.
| | 02:42 | Instead, we want the rust
to be blotchy and streaky.
| | 02:44 | I'll change the blending mode over to
Multiply and keep the opacity very low.
| | 02:48 | 10 to 12% is just fine.
| | 02:51 | We want to build up this rust over time.
| | 02:54 | Now, as I start to paint
on here, I'm getting rust.
| | 02:57 | Don't be afraid to take a little time with it.
| | 02:59 | It's on a separate layer, so I can
really build this up, rusting out the
| | 03:03 | top pretty thoroughly.
| | 03:04 | I'm going to circle this in, leaving some
areas a little more rusty or a little less rusty,
| | 03:09 | even letting the rust bleed over onto
the side just a bit, strategically of
| | 03:13 | course in the places where I know
I've got a good overlap in the UVs.
| | 03:18 | Multiply is a blending mode that
increases the darkness.
| | 03:22 | Actually, the way the math works in
Multiply is it takes the values of the
| | 03:26 | over color, multiply them by the values of
the under color, and divide by the color space.
| | 03:32 | Right now, in my RGB scale, as you can see,
I'm using a 256-color color space, or 8-bit.
| | 03:38 | The values go from 0 to 255.
| | 03:41 | What that means for Multiply is it's
taking the red value of this rust times
| | 03:45 | the red value of my red paint,
dividing by 256 to end up with the final color,
| | 03:51 | which is always darker.
| | 03:52 | What I'll do once I've got a little
bit of rust in here is deepen this color
| | 03:56 | just slightly, bringing down the
Brightness just by a few points.
| | 04:00 | And as I start to lay more rust in,
we can see it gets very dark very quick.
| | 04:04 | I'm rusting out this surface,
really adding in some patina over time.
| | 04:09 | I'll put this in and make sure I
hit most of the rest of the gas pump
| | 04:13 | with similar colors.
| | 04:14 | There is a spot where that top is
really significantly rusty, and there is just
| | 04:18 | a little bit of the
original paint still hanging on.
| | 04:21 | I'll zoom out and start to
do it on the side as well.
| | 04:25 | Press B for brush. I'll click, Shift, and
drag down, and get a straight line of rust.
| | 04:32 | I'll go right off the bottom.
| | 04:33 | Then I'll come back with a slightly larger
brush and start to brush in more of that rust.
| | 04:38 | It's come down from the top,
| | 04:40 | so I am actually going to zoom in on
the top polys there and make them pretty
| | 04:44 | thoroughly rusty, as if over the years
water has collected and run under that
| | 04:48 | lip and has run down the side.
| | 04:50 | This will give me a nice break in the
texture, having that extra lip there in the bump.
| | 04:55 | As long as I've got some rust that
matches, I will be in good shape.
| | 04:58 | I'm going to take this rust
right out to the edge here.
| | 05:00 | It's on a separate layer, and I may
need to go back and lighten up that color a
| | 05:04 | little bit in places as well.
| | 05:06 | I'll make it brighter and
start laying in that rust.
| | 05:09 | This is the general rust
coming through the paint.
| | 05:13 | Then we'll come back and add some bubbles in.
| | 05:16 | It's okay to paint this with a mouse.
| | 05:17 | As I've said before, if you
paint with a Wacom, that's fantastic.
| | 05:21 | If you make do with a mouse, that's okay too.
| | 05:24 | As long as you're getting the art done
on time and on budget and it looks right,
| | 05:28 | that's totally fine.
| | 05:30 | I'm going to make this side pretty
thoroughly rusty, letting that rust
| | 05:33 | multiply in pretty nicely.
| | 05:35 | What I may do sometimes in painting is
to use my marquee to help stop that paint.
| | 05:40 | I'll press M for marquee and
throw a marquee around this long side.
| | 05:44 | Now when I paint, it's going to stay
within that, and I'm going to add some rust
| | 05:49 | on the other side here.
| | 05:51 | I'll change that color to a little
darker and just build that up a little more
| | 05:55 | at the bottom, where a little more
water has hit over time because it splashes
| | 05:58 | and that paint is really going
away and the metal is rusting through.
| | 06:02 | Finally, I'll add some rust on the front panel.
| | 06:05 | I want to make sure that whatever level of
decay I'm putting on is the same all around.
| | 06:10 | So, on the front, although it's held up
decently, it needs some minor rust and
| | 06:14 | then I'll put some speckles in.
| | 06:16 | I'll use the same technique.
| | 06:17 | In this case, instead of dragging a
marquee around, I'm going to scroll down,
| | 06:21 | hold Ctrl, and click on the
layer thumbnail for the white panel.
| | 06:24 | That marquee is now perfectly
constrained to that white, and I'll paint on
| | 06:28 | my Rust skim layer.
| | 06:29 | I will add in a little bit here on the side,
| | 06:32 | a little bit more in the bottom,
and over here, because it sounds neat.
| | 06:36 | As long as it's roughly fitting where it
would rust naturally, I am in pretty good shape.
| | 06:41 | The paint is being gently worn away over time,
| | 06:44 | so some minor blotchiness is just fine.
| | 06:46 | I will let it go right under that red
because I'm going to come in and scratch
| | 06:49 | away that red anyhow.
| | 06:52 | I'll save this PSD out as 02_09_gas_pump_end,
update it in Maya, and see how it
| | 06:57 | looks on my gas pump.
| | 06:59 | I've saved it, but I want to make sure
that I come back here and turn on my
| | 07:02 | other layer, so I don't get an
error when I bring it in Maya.
| | 07:06 | I'll save it once more.
Now, I'll go back and update that PSD.
| | 07:10 | Here in Maya, I'm going to click on the
color texture in that gas pump material
| | 07:14 | and click on that File node.
| | 07:16 | I'll go find 02_09_end.
| | 07:20 | I'll pick the pump and delete the transparency.
| | 07:24 | I'll go back in the Bump file and
update that as well. The PSD updated.
| | 07:30 | I'll scroll down and update
the specular color as well.
| | 07:34 | Then I'll see how it looks.
| | 07:37 | My gas pump is rusting nicely.
| | 07:39 | I can see that the rust is eating
away at the paint, and it's even gotten
| | 07:42 | into the front here.
| | 07:44 | I haven't dealt with the shine at all, which
is why it's shining nicely and uniformly.
| | 07:47 | That will be next after I get
the rust and the bubbles in.
| | 07:51 | The important thing though is that
it's rusty, and I've built up that rust.
| | 07:55 | We can see here on the top, especially
that paint is really starting to wear
| | 07:58 | away, and that rust matches nicely.
| | 08:01 | It just so happens to be spilling over
the side, and avoiding that issue right
| | 08:05 | here, where my texture seams together.
| | 08:07 | I'll probably add in a little bit more
rust, taking this rust all the way down,
| | 08:11 | overlapping onto that lip.
| | 08:13 | I'll bring a little bit more into the
front panel and maybe build it up a little
| | 08:17 | bit more here at the base.
But it's definitely a good start in rust.
| | 08:21 | The front red panel also needs some
rust, so it's not too big of a mismatch
| | 08:25 | right here at the seam.
| | 08:26 | I can do that in the same way, and then
I'll update the PSD again and in the
| | 08:31 | next video, start adding some bubbles.
| | Collapse this transcript |
| Adding rust bubbles| 00:00 | In this last texturing video on the gas pump,
I am going to add some bubbles in the rust.
| | 00:04 | These are places where the rust has
really bubbled through the paint, not just a
| | 00:08 | slight rusting on the surface, but has
really added some surface texture as well.
| | 00:12 | I'll paint those rust bubbles in and
then clone those layers over to the bump
| | 00:16 | group to use them as well, to
make the surface appear irregular.
| | 00:19 | I have updated my PSD, adding a
little more rust on the front and also on
| | 00:24 | the red middle panel.
| | 00:25 | I have taken the rust around the sides
up a little more and definitely put a
| | 00:29 | little more on the top, making sure it
comes over, so I have got a pretty good
| | 00:35 | texture match where the top and side meet.
| | 00:36 | It looks like it's in pretty decent
shape, well, for a beat up gas pump. And I'm
| | 00:39 | going to go in and add
some bubbles as the next step.
| | 00:43 | Here in Photoshop, I've turned on all of my
layer sets as part of the exporting process.
| | 00:47 | I will turn them off and look at
painting the rust in the color first.
| | 00:52 | I have got a layer I created
earlier called Rust bubbles.
| | 00:55 | What I am going to do for bubbles is used
by same rust color and press B for brush.
| | 01:00 | I will right-click and look in my brushes.
| | 01:03 | Now there are zillions of
Photoshop brushes available.
| | 01:07 | If you Google, as an example, "free
Photoshop brushes," you can find everything
| | 01:11 | from dogs to clouds to rust and so forth.
| | 01:14 | You can also make your own by dragging in
images and dragging them onto the Brush palette.
| | 01:18 | I'm going to use one of
the ones that comes with it.
| | 01:21 | I'll pick one of these splatter
brushes, which gives me a small splatter.
| | 01:25 | I can also pick, as an example, this
one, which is a little bit too small.
| | 01:29 | I will scroll down and take one of the
other splatters, maybe this one at 39.
| | 01:34 | By clicking anywhere, I've turned off the
Brush palette that I brought up by right-clicking.
| | 01:39 | I am ready to start brushing in my bubbles.
| | 01:41 | I will use my brackets to upsize
that brush, and we can see that splatter
| | 01:45 | pattern pretty clearly.
| | 01:46 | What I will do to make bubbles is on
my new layer, click several times in one
| | 01:50 | place, building up some of those bubbles.
| | 01:53 | I will click a bunch of times, and we
can start to see some minor dips and
| | 01:57 | pockmarks appearing.
| | 01:59 | I can also bring up the opacity, as
this brush is set to have a partial
| | 02:03 | transparency as part of the brush.
| | 02:04 | I will run my opacity a little
higher and upsize that brush just a bit.
| | 02:08 | I will click a few times and add some
minor speckling, clicking right over the
| | 02:13 | heaviest areas of rust and adding in dots.
| | 02:16 | What I am going to do is also make
this a little bit deeper so that I'm
| | 02:20 | multiplying through by an even darker rust.
| | 02:24 | As I start to add these in, we can really see
it on the rust, adding some texture in there.
| | 02:29 | I may even want to go darker in the color.
| | 02:31 | It's okay to actually
rust in pretty well a brown.
| | 02:34 | These will start to add in
texture and character to the rust.
| | 02:39 | As an alternate, you can take this layer
and make it a multiply layer, and that's
| | 02:43 | really going to burn in that rust there.
| | 02:46 | I'm painting in multiply and I am
also multiplying by the layer, doubly
| | 02:50 | multiplying by giving me a
really deep, rich look in that rust.
| | 02:55 | I'm also downsizing the brush
occasionally, moving around, making sure I build
| | 02:59 | it up and then move on.
| | 03:00 | I'll add a few more here in the top,
upsizing the brush, adding it in, pulling it
| | 03:06 | over, and downsizing just
a bit to add some variety.
| | 03:09 | We can also play with the opacity as
part of this, so it's got some variability
| | 03:13 | in those rust bubbles.
| | 03:14 | I will add a few more up here,
where it's really definitely rusted through.
| | 03:20 | I can always come back and add more.
| | 03:22 | Here's how I will make
this work as part of the bump.
| | 03:25 | I will click in the Layers palette and
hold Alt while I drag the Rust bubbles
| | 03:29 | onto the Gas_pump.bump layer set.
| | 03:31 | If it doesn't want to go in, you can
make a clone, which is now called Rust
| | 03:34 | bubbles copy, and now
drag it into that layer set.
| | 03:38 | I'll open up that layer set, turning it
on, and there are my Rust bubbles copy,
| | 03:43 | all the way down to the bottom.
| | 03:45 | I am going to grab these and pull them up.
| | 03:47 | What we can see, also, is that
this bump is set to a lower opacity.
| | 03:51 | I will make sure I take this and pull
it back up so it shows up correctly.
| | 03:55 | There is those Rust bubbles.
| | 03:58 | They are in there, but they are too dark
and also, they need to be on top of everything.
| | 04:03 | This has rusted through the paint and
the other pieces, so it should go over the
| | 04:07 | top of things like my dials and other pieces.
| | 04:10 | Now what I will do is invert this.
| | 04:13 | First, I will desaturate by pressing
Ctrl+Shift+U. They are now all gray.
| | 04:17 | I will press Ctrl+I to invert and
maybe make it a little bit brighter.
| | 04:22 | I can also take their blending mode
back to Normal, and we really start to see
| | 04:26 | them pop out as lighter rust bubbles.
| | 04:29 | Knowing your blending modes and simply
grayscaling and inverting colors can get
| | 04:33 | you a long way in taking a diffuse map
and making it into a bump or taking a
| | 04:37 | bump and colorizing it to make a diffuse.
| | 04:40 | I've got my Rust bubbles as a normal,
and they are blending over fairly nicely.
| | 04:45 | The trick is really to test it
and see if I need to fine-tune it.
| | 04:49 | As an alternate, I can try in here
instead of Normal, using this as a Linear
| | 04:53 | Dodge, where they get very big very quickly,
as if the surface has some serious texture.
| | 04:58 | I am actually going to try this as
an Add, or Linear Dodge, but back off
| | 05:02 | the opacity slightly.
| | 05:03 | This will help screen
them in a little bit better.
| | 05:07 | I'll save this PSD after I turn on my
specular layer, make sure everything is at
| | 05:11 | the right strength, and save
it out as 02_10_gas_pump_end.
| | 05:15 | Then I will go into Maya and update that PSD.
| | 05:20 | Back here in Maya, I will pick the
Gas_pump, click on the Color texture in that
| | 05:24 | Gas_pump material, and click on that file node.
| | 05:26 | It's 02_10_gas_pump_end.
| | 05:28 | I will go back up to the material and
change that bump as well. The PSD updated.
| | 05:36 | I'll update the specular, just
to make sure I am consistent.
| | 05:39 | Then I will see how it looks.
| | 05:41 | I will pick the pump and
delete the transparency.
| | 05:47 | My gas pump is ready, and as I have
orbited around to the side, we can see that
| | 05:51 | rust poking through.
| | 05:52 | I will get up close, and we can really see
the pockmarks in that surface from that rust.
| | 05:57 | It's rusted and the rust has come through
the paint and really scarred that surface.
| | 06:00 | It's working nicely, and we can add a lot of
detail to a fairly low-res model this way.
| | 06:05 | It's even gone on the vents and right
over onto the top. There is more bubbles.
| | 06:10 | We want to keep our bumps mellow.
| | 06:12 | It's okay for a bump to be
fairly relaxed like this.
| | 06:15 | It doesn't have to be giant protrusions,
as much as the surface being not perfect.
| | 06:21 | There's one last thing I'll do on the
gas pump, and that's to update the specular.
| | 06:24 | What I will do is I will go over and
grab the rust and the rust bubbles,
| | 06:28 | grayscale them, and put
them in that specular group.
| | 06:31 | I will bring it back over and show how it looks.
| | 06:34 | Here in Photoshop I have
got that gas_pump_end.psd.
| | 06:37 | What I will do is the same thing
I did to copy those rust bubbles.
| | 06:41 | I'll pick the Rust bubbles copy--in
this case from the bump--hold Alt and drag
| | 06:45 | them right on to that Gas_pump.specularColor.
| | 06:47 | Then I will go down to my color
map, and there is my Rust skim.
| | 06:53 | I'll take this, hold Alt, and drag it
into that layer set for the specular.
| | 06:57 | I'll open up the specular, and I will
turn off the bump and colors so I can
| | 07:01 | see what I am doing.
| | 07:03 | I'll take the base level for the
specular and pull it down. My gas pump is
| | 07:08 | generally slightly shiny.
| | 07:09 | Now what I will do is grayscale that
rust skim, pressing Ctrl+Shift+U, and I am
| | 07:14 | going to leave it fairly dark.
| | 07:16 | The gas pump was shiny.
| | 07:18 | Where it is rusted, it is now dull.
| | 07:19 | In a specular map then,
white is shiny and black is dull,
| | 07:23 | so the rust has matted out the finish.
| | 07:26 | I'll take the bubbles and mute them too,
pressing Ctrl+I to invert their values
| | 07:31 | and probably darkening them a bit.
| | 07:34 | I also want to be
conscious of my blending modes.
| | 07:36 | They are still set as a Linear Dodge
(Add) and I want to change them over,
| | 07:40 | maybe choosing Multiply or Darken, and
pulling back the Opacity so they are
| | 07:44 | slightly less shiny.
| | 07:46 | I'll close this up, turn on the other layer
sets, and I'm ready to save and update my PSD.
| | 07:53 | Over here in Maya, now that I've
saved over that end PSD, I can just choose
| | 07:56 | Texturing > Update Networks.
| | 08:00 | It took a second and updated the network.
| | 08:02 | Well, what I can see here is that that
shine is muted down and as I spin around,
| | 08:06 | I can definitely see a change in
shine on that gas pump where it's rusty.
| | 08:10 | One of things you can do is once you
feel that you've got your texture in shape,
| | 08:15 | put a light in. Choose Create > Lights
and here is a Point Light as an example.
| | 08:19 | I'll pull it out, press 7 to show lights
in the view, and move that light around.
| | 08:24 | It's a quick way to test to
see if things are working.
| | 08:27 | As I pull this light back and forth,
we can definitely see the bump and
| | 08:30 | the shine changing.
| | 08:32 | I'm ready to take this and do any
additional painting, maybe make a normal map
| | 08:36 | on it or put some additional parts on.
| | 08:38 | I should probably make some chrome here
for this side fitting and make sure that
| | 08:42 | the trim is in the right
place all the way around.
| | 08:45 | I also need to paint in generally dark
stuff here in this recessed panel, but
| | 08:49 | this will do for now.
| | 08:50 | That's just more time in painting, but
we have the basic technique established.
| | 08:54 | We can continue to refine as needed and
see it all at once in Maya on a model.
| | Collapse this transcript |
| Setting up a library of gas pump textures| 00:00 | In this video, I'll look at setting
up a library of gas pump textures.
| | 00:04 | It's very possible that in a gas station we
need to see multiple gas pumps at any given time.
| | 00:10 | If we've set up our PSDs correctly,
it's very easy to make different textures,
| | 00:14 | and we can swap them in and out.
| | 00:16 | What I've done so far is updated this
with my latest PSD, where I've got the rust
| | 00:21 | in bubbles and a light in
there to test how it looks.
| | 00:24 | I'll grab this light and pull it
around, and I can see that the shine changes
| | 00:27 | because I've put the rust
in my specular map as well.
| | 00:31 | I'll go over to Photoshop and look
at setting up a library of gas pump
| | 00:34 | textures, starting with the raw diffuse
map and later adding in variations and rust.
| | 00:40 | I've got opened my PSD, and I'll go
look at the reference as well and see what
| | 00:43 | kind of variation I need.
| | 00:46 | When I pick the reference and zoom out,
I can see a place for obvious variation.
| | 00:50 | These are two of the same model gas pumps,
| | 00:53 | but the left one is blue
and the right one is red,
| | 00:56 | so it's an obvious place
for a texture variation.
| | 00:59 | If we look at our gas station, we can
see that there is a small island which
| | 01:02 | will probably accommodate two pumps.
| | 01:05 | We may also want to have an outside island
or something similar, with more pumps on it.
| | 01:10 | We can see very quickly when we look at
this close-up detail, that rust can get
| | 01:14 | very repetitive, and we may want to have
different things we can swap in and out,
| | 01:19 | depending on how many pumps we're going
to see for things like this dial plate.
| | 01:24 | Here's another reference.
| | 01:25 | This is probably one of the most
similar-looking ones, as there's two red
| | 01:29 | pumps that appear to be of the same
vintage, and have most of the same parts
| | 01:33 | and the same colors.
| | 01:34 | These will probably do fine with one texture.
| | 01:37 | It's only when we start to need
different colors of objects, we want to
| | 01:40 | think about texture libraries,
reusing that same PSD to make different
| | 01:44 | pieces and swapping them out.
| | 01:47 | What I'll do is simply make another color
layer, cloning it and making a blue gas pump.
| | 01:52 | I'll turn off my specular
and bump channels for now.
| | 01:54 | I'm going to take my gas pump
color and hold Alt and clone it.
| | 01:59 | I need to go up in this case so it
clones it, as the background layer is locked.
| | 02:04 | With it cloned, I'll double-
click on the layer set name and call
| | 02:08 | this Gas_pump.colorBlue.
| | 02:11 | I'll turn off my original and now in
the Gas_pump.colorBlue, I can start to
| | 02:15 | change colors quickly.
| | 02:17 | What I'll do as an example
is change that base color.
| | 02:21 | I'll pick a new color, clicking on my
Color palette or eyedroppering from reference.
| | 02:25 | I'm going to borrow here
for my reference that blue.
| | 02:29 | I'll zoom in and eyedropper
it and see what it looks like.
| | 02:33 | I'll pick this color and perk it up
just a little bit in saturation and
| | 02:37 | brightness, so it's not completely muted out.
| | 02:41 | Remember, we're always seeing
reference in photos; therefore, the lighting is
| | 02:44 | captured at a particular moment with
a particular setting on the camera.
| | 02:48 | What we want to do a lot of times for
games then is to paint it more in a raw
| | 02:53 | sense, painting the color as we like
it to be, knowing that in the game we're
| | 02:58 | going to have lighting that
affects it in a certain way.
| | 03:01 | Back over in my gas pump then, I'll use
that new blue, filling in with a paint
| | 03:06 | bucket on the base color.
| | 03:07 | Then I'll go over to the
red front and do the same.
| | 03:11 | I'll hold Ctrl and click on that red front.
| | 03:14 | Then I'll fill in that selection
with my blue, making sure to catch
| | 03:17 | those rounded corners.
| | 03:20 | I'll deselect and bring it
over and see how it looks.
| | 03:23 | Very easily, we can do the same
thing on things like text or logos, maybe
| | 03:27 | even changing the white front to
something different if it's a different
| | 03:30 | brand or different pump.
| | 03:32 | We want to think in terms of
flexibility, and that's the biggest thing I'm
| | 03:34 | trying to get across here.
| | 03:36 | With our gas pump, if we set
things up correctly, changes are easy.
| | 03:40 | If everything is mashed together,
it's very difficult to change.
| | 03:44 | Being we are going to take a flattened
image out to our game engine anyway, use as
| | 03:48 | many layers as you need, and keep it
organized so you can make changes.
| | 03:52 | I'll make sure before I save that I roll
up these layers and turn on the ones I want.
| | 03:56 | What I'm going to do here is actually
turn on both layers: color and colorBlue.
| | 04:02 | I'll save this out, choosing File >
Save As, and calling it Gas_pump_end.
| | 04:08 | Over here in Maya, what I'm going
to do is clone this as an example.
| | 04:11 | You don't always have to do this,
but it's nice to see them side by side and see
| | 04:15 | if it's really working.
| | 04:17 | I'll move my light out and press 6
to go back to the default lighting.
| | 04:21 | I'll pick my gas pump, press Ctrl+D to
duplicate, and slide the duplicate over.
| | 04:26 | We can clone materials including
their shady networks on a hypershade.
| | 04:30 | I'll choose Window >
Rendering Editors > Hypershade.
| | 04:33 | We don't always have to do this, but
it's nice to see the comparison sometimes,
| | 04:37 | and have the flexibility to do so.
| | 04:39 | I'll pick my gas pump material, and
if I right-click on it, I can graph it
| | 04:43 | and see that network.
| | 04:44 | There is the PSDs and placed
texture nodes it creates automatically.
| | 04:49 | What I'll do is to pick my gas pump
material and under Edit, I'll choose
| | 04:53 | Duplicate > Shading Network.
| | 04:57 | Now I've got Gas_pump and Gas_pump1.
| | 04:59 | I'm going to right-click and graph Gas_pump1.
| | 05:02 | It uses the same things in here,
| | 05:04 | so if I bring a new PSD in or
swap out what I'm doing, I can get a
| | 05:08 | different material.
| | 05:10 | I've got my second gas pump selected,
and I'll right-click and assign the
| | 05:14 | existing material Gas_pump1 to it.
| | 05:17 | Now, in Gas_pump1, which is separate
from gas pump, I'll scroll up, and I'll put
| | 05:22 | this in the color, go into that
PSD, and update to the right file,
| | 05:28 | delete the transparency, and put it in the bump.
| | 05:32 | I'll pick my end file. The PSD updated.
| | 05:35 | I'll scroll down and update the
specular color as well, gas_pump_end.
| | 05:42 | I've added the gas pump PSD I've just saved
into the second gas pump with the new material.
| | 05:46 | What I'm going to do to swap out that
blue is click into that color texture.
| | 05:52 | I'll pull my nodes out of the way a
little bit, and what we can see in here, if I
| | 05:55 | drop down under Link To Layer Set,
is now that colorBlue is available.
| | 06:00 | I'll choose it and give it a minute to update.
| | 06:03 | There is my blue gas pump
next to my red gas pump.
| | 06:07 | Just by changing out that layer
set, I can see it's working nicely.
| | 06:11 | It looks like it brought the
transparency back in automatically, so I'll
| | 06:13 | remember to break it.
| | 06:16 | Very easily, I was able to clone a
material and swap out part of the PSD,
| | 06:20 | getting me a new gas pump.
| | 06:22 | The way to think of it is we're going
to use a lot of props in a scene, and
| | 06:26 | a lot of times they'll be repetitive but need
some slight variation in part of their textures.
| | 06:31 | If we're set up for an easy workflow
where we can change parts and simply update,
| | 06:36 | it makes it very easy to make
unique-looking things all over our environment.
| | Collapse this transcript |
| Painting dirt and rust variations| 00:00 | With my two gas pumps in place, I'm going to
add a little bit of dirt and rust variation.
| | 00:05 | I've made it easy to do in the
way that I've set up my textures.
| | 00:09 | Working with the layer sets and working in
lots of layers within them allows me to do
| | 00:13 | easy changes and get different rust going.
| | 00:16 | I can see in here, aside from the blue, where
I may want to make a change, because I've
| | 00:19 | got the same dip in the white with the rust right
here and the same bubbles right on that white panel.
| | 00:25 | One of the things we'll see a lot of times
in games is there we're going to swap out
| | 00:29 | different parts of a diffuse
texture, layering pieces over.
| | 00:33 | In this case, I've got the rust and
the paint coming into one layer set.
| | 00:37 | What we might see are instead, clean gas pump
textures that are red and blue, and over them
| | 00:42 | gets laid as a decal a different rust.
| | 00:46 | There's different ways we can do this in Unity
or other game engines, but the idea of keeping
| | 00:50 | the layers separate in Photoshop so that we
can see it in Maya, alter it, and put out
| | 00:55 | different flattened pieces
if we need is important.
| | 00:58 | I'll go over to Photoshop, and I've got the
PSD opened that goes with these models, and
| | 01:03 | I'll put in some different rust.
| | 01:05 | Here in my PSD I've got the
blue color and the regular color.
| | 01:09 | There's my specular and my bump.
| | 01:11 | I'm going to turn off Gas_pump.color,
and I'll turn off the bump and specular for now.
| | 01:17 | What I'd like to do is in that blue, keep
the original rust, but make a variation.
| | 01:23 | Maybe there's two blue pumps with
slightly different rust at a gas station.
| | 01:26 | I'll pick both of these Rust
layers and press Ctrl+G to group them.
| | 01:30 | I'll rename this group to Rust1.
| | 01:34 | Now I'll take this group and hold Alt
to clone it, and I have Rust1 copy.
| | 01:38 | I'll turn off the original and
rename the second, the copy, Rust2.
| | 01:44 | By making that a group and cloning it,
I've got all the layers cloned with their names
| | 01:48 | and I'm ready to alter that rust.
| | 01:51 | Now I'm going to take this and use my Marquee,
selecting the white and erasing some of the
| | 01:55 | rust and repainting it
here on this white panel.
| | 01:59 | I'll scroll down, hold Ctrl,
and click at the white panel.
| | 02:03 | Then I'll go up, and here's my new Rust skim.
| | 02:06 | I'll press E for Eraser, right-clicking and
making sure the Hardness is all the way down.
| | 02:11 | I'm going to take out some of the rust down
here on the bottom and then repaint some of
| | 02:15 | it so we get a textural variation.
| | 02:17 | I'll just pull some of that off the panel
there, and now I'm going to eyedropper some
| | 02:21 | of my rust, making sure
I have a nice bright color.
| | 02:25 | I'll press B for brush, making sure it's set
to Multiply, and I'll start to brush in some
| | 02:29 | new rust here on this panel.
| | 02:31 | Maybe it's a little more rusty in the center
instead and the rust has bled down onto the bottom.
| | 02:36 | I'll put this in and even
fade it up to the top here.
| | 02:41 | I'm going to bring a little more saturation
and add some more rust at on the bottom.
| | 02:46 | It's okay if it's a slightly different color,
because I've got the blue in there as well.
| | 02:50 | Ultimately, I can paint in different
colors and match them in, or blend them.
| | 02:55 | I'll go a little brighter and
fade in some more of that rust.
| | 02:58 | That's working nicely.
| | 03:00 | It's a radically different rust pattern;
even with the same dot it will look different.
| | 03:04 | What I'll do is save this out and bring this PSD in,
making sure it's looking to the right layer set.
| | 03:11 | I'll roll up these and
turn on those other layers.
| | 03:15 | Now I will save this out
as 02_12_gas_pump_end.
| | 03:19 | Here in Maya I'm going to update
my PSDs the same way I've done.
| | 03:23 | I'll pick this Gas_ pump1, go
into there, and grab that new PSD.
| | 03:29 | Even with just picking the color,
we can see that rust is different.
| | 03:32 | I've got the markings and some of the same rust on
the side, but it's camouflaged by being over blue.
| | 03:38 | Where it's very obvious on the white I can
see radically different rust, and I've made
| | 03:42 | a different texture there
simply by cloning a group.
| | 03:45 | I'll finish updating this and compare the
two pumps in the light I've got in the scene.
| | 03:50 | I'll go into those textures for specular and
color and bump and swap out the right PSD,
| | 03:56 | 02_12_ gas_pump_end.
| | 03:57 | Again, it brought in the transparency.
| | 04:01 | Right-click on Transparency
and break that connection.
| | 04:04 | I've updated the blue gas pump.
| | 04:06 | I've still got the original over here on the
red, which as it sharing a group that I haven't
| | 04:10 | touched yet, or rather I haven't adjusted,
it looks okay for now for my test.
| | 04:15 | What I'll l do is pull back, and
I'll pick my light and move it over.
| | 04:19 | I will also make sure I hit 7, so I'm showing the
lighting in view instead of using the default.
| | 04:24 | As I pull that light forward,
we can my gas pump in light.
| | 04:28 | The rust looks different and as I zoom in,
into let's say a player's possible view, very
| | 04:34 | close on this, they look like
two very different gas pumps.
| | 04:37 | Of course they happen to share geometry,
because we expect things like this to be shaped
| | 04:41 | the same, but the surface detail
and look is radically different.
| | 04:45 | Also, as I go around this gas pump,
which I may do it again, assuming there is light
| | 04:49 | on it, I can see that
there are different colors.
| | 04:52 | I'll clone my light and see how this looks,
| | 04:54 | pressing Ctrl+D to
duplicate and sliding it over.
| | 04:58 | It's always good to test
things from a player view.
| | 05:00 | I'm up here at roughly my player height.
| | 05:02 | There is one blue rusty gas pump and a red
rusty gas pump, and as I spin around, well, they
| | 05:07 | look rusty gas pumps.
| | 05:09 | Creating a library like that that makes it
very easy to take objects which could very
| | 05:13 | well be repeated dozens of times in a scene
and add enough variation that we can really
| | 05:18 | say, yes, they look unique and
it's believable and we don't break the immersion in the game.
| | Collapse this transcript |
| Weathering away the paint| 00:00 | In this video I'll show how to
scratch and wear away paint on the gas pump.
| | 00:05 | I've added in wear, layering on
rust and bubbles and so forth.
| | 00:09 | But what I also need to do, especially
on these front panels, as we'll see in the
| | 00:12 | reference in the minute,
is to wear away the paint.
| | 00:15 | It's been exposed to the elements for
years, and so a lot of the original has faded out.
| | 00:21 | Here in Photoshop we can see, if I look
at my reference, that the gas pump on the
| | 00:24 | left in blue is fairly intact.
| | 00:27 | The gas pump on the right in red
though, although standing straighter has
| | 00:31 | the paint worn away, maybe scored or
flaking off, revealing the white paint underneath.
| | 00:36 | I'll show how to do this
easily, building up using the eraser.
| | 00:41 | With the latest version in my PSD
selected, I'm going to make my red gas pump
| | 00:45 | missing some of its paint.
| | 00:47 | First, I'll turn off some of my layer
sets so I can see what I'm doing, turning
| | 00:51 | off the bump and turning
off the blue color as well.
| | 00:54 | There is the red. And I'll open
up that layer set and scroll down.
| | 00:59 | There's a red front layer.
| | 01:01 | I'll zoom in and start to erase this.
| | 01:04 | I'll press E for the eraser,
| | 01:06 | right-clicking and making sure
the hardness is all the way down.
| | 01:10 | I'm going to leave the size fairly big,
maybe 150 give or take, somewhere in
| | 01:14 | there, but I'm going to lower the
opacity, clicking and dragging in the
| | 01:18 | Opacity and pulling it way back.
| | 01:20 | The thing to remember when you're wearing
away paint is that this happened over time.
| | 01:24 | If we took our brush and simply add a
large Opacity, like 100, grabbed and
| | 01:29 | dragged, we are you erasing a large
streak, which looks like somebody
| | 01:33 | dragged something down it.
| | 01:35 | What I want to do is keep that
Opacity low so that as I'm wearing away this
| | 01:40 | paint, it builds up over time.
| | 01:43 | The paint was new at some point, and it
started to wear away. We started to
| | 01:47 | lose some paint, but some of the
original was still there in places.
| | 01:51 | But we really started to lose some of
the hard lines, especially in the small
| | 01:54 | areas where maybe it wasn't bonded as well.
| | 01:57 | It got a little scratched over time
and water dripped down and took a little
| | 02:01 | more paint here and there, especially
right here at the corner. After years of
| | 02:04 | people touching it and elements and so forth,
| | 02:07 | some of the original paint still clung
vainly over in the corners, and I will let
| | 02:11 | it be right there, because
it's just shielded by that chrome.
| | 02:15 | I'll scratch a little more off here.
| | 02:16 | Now I'm going to switch over, right-
clicking and choosing one of my different brushes.
| | 02:22 | So far I've got naturally erosion.
| | 02:24 | It's fading out gently.
| | 02:26 | I'm going to switch over to a speckled
brush as an example and use my brackets
| | 02:30 | to upsize the brush.
| | 02:32 | I'll add some scratches in,
scratching that paint off.
| | 02:35 | It's been mechanically braided here,
and we're missing some large chunks.
| | 02:39 | I'll add a few more over here.
| | 02:42 | I'll scratch off a little more, making sure
I keep that opacity low and building it up.
| | 02:47 | Finally, there are some chips here and
there, places where over time things have
| | 02:51 | speckled that paint. Because it's a
separate layer, anywhere I click off that
| | 02:56 | layer really doesn't matter.
| | 02:58 | I'm wearing away that paint, building
up chips, dents, scratches, and so forth,
| | 03:03 | upsizing the brush occasionally and
scratching it, really taking care to
| | 03:07 | build up the erosion.
| | 03:09 | I'll make sure I catch the corners up here.
| | 03:12 | This one is almost completely gone.
| | 03:15 | I'll build that up and scratch it in.
| | 03:17 | I'll scratch from a different direction as
if somebody had gone after it with a tool.
| | 03:22 | I'll make sure there's no nicely faded-
off edges, doing some more scratching
| | 03:26 | things down low here.
| | 03:28 | It may take at least a few minutes to
scratch this away, really eroding that
| | 03:32 | paint, but the end I get is the last of
the paint is still hanging on, and it's
| | 03:37 | worn away, scratched, and worn
down by the weather and rain.
| | 03:41 | I'll bring this across and see how it looks.
| | 03:43 | I am going to turn back on my layers, choosing
File > Save As, and save this out as an end PSD.
| | 03:50 | Back here in Maya, I'll pick
my red gas pump and update.
| | 03:57 | I'll go into those textures for specular
and color and bump and swap out the right PSD.
| | 04:03 | There is a slight lag while I'm updating, and
what that's due to is this being a large image.
| | 04:09 | I'm still painting at 2048 on a side.
| | 04:11 | It's okay to paint big like that
and take the minor performance hit.
| | 04:15 | Getting the detail right is what's important.
| | 04:17 | Later, we'll come back and reduce this or
let Unity reduce it, as I've stated before.
| | 04:22 | Right now I just want to see
everything in the full detail.
| | 04:25 | There is my gas pump, and we can really
see where that red paint is just barely
| | 04:29 | hanging on in places,
showing the white underneath.
| | 04:33 | If I look at it and say, I don't
really like that I'd like to change it, a
| | 04:37 | change this fairly easy.
| | 04:38 | What I can do is actually borrow the
blue layer from here and recolor it as
| | 04:42 | red and re-scratch it in the same way
I cloned over things like the rust in
| | 04:47 | the other exercises.
| | 04:49 | I'll see if the blue needs any more wear,
and if any other places in the red here
| | 04:53 | that need to be scratched away or
having more rust applied to them.
| | 04:57 | Finally, I'm going to bring this into
a game and see how it's going to look.
| | Collapse this transcript |
| Converting bump maps to normal maps| 00:00 | In this video, now that I feel pretty
comfy with the painting of my gas pumps
| | 00:04 | and their bump maps, I'll show how to create a
normal map from a grayscale bump in Photoshop.
| | 00:10 | I've got my gas pumps updated with
their latest PSDs and their rust and
| | 00:14 | generally banged-up
appearance is where I want it to be.
| | 00:17 | I've got my library set up and I'm
ready to get a normal on so that I get a
| | 00:21 | better look and better lighting in the game.
| | 00:24 | Over here in Photoshop
I've got my latest PSD up.
| | 00:26 | What I'm going to do is going to the
bump group and make some copies and then
| | 00:31 | use a filter, such as the xNormal,
to get the grayscale bump converted.
| | 00:36 | For now I'll turn off my specular color
and turn off my blue and red colors as well.
| | 00:42 | Remember that anything that goes
on in a layer set is transparent.
| | 00:46 | In Maya, the linked PSD node just looks to
that layer set and all the layers are flattened;
| | 00:51 | therefore, we can turn
stuff off and on as we need.
| | 00:55 | In my Gas_pump.bump group, I'll pick
the top layer, scroll down, hold Shift,
| | 01:00 | and pick the last one.
| | 01:01 | That selects all the layers between them.
| | 01:04 | I'll press Ctrl+G to group them,
and in here I'll call this Gray bump.
| | 01:10 | Then I'll take this group, hold Alt to
clone it, and clone it as another group
| | 01:15 | inside that Gas_pump.bump group.
| | 01:18 | Now I'll press Ctrl+E, which
flattens that group into a single layer.
| | 01:22 | That way I can convert it to a normal map.
| | 01:25 | I'll turn off the original gray bump.
| | 01:27 | Notice that, again, I'm preserving my
flexibility, making sure I keep the layered
| | 01:31 | structure and taking a flattened clone to convert.
| | 01:35 | I'll turn off the snapshot so I can see
what I'm doing clearly and zoom out because
| | 01:39 | I'd like to see how the
normal map looks when I'll done.
| | 01:42 | Under Filter, I'm going to choose xNormal.
| | 01:45 | There is lots of different ways to make
normals and here I got xNormal and the
| | 01:48 | NVIDIA tools available from
the Developer section in NVIDIA.
| | 01:52 | Whichever one works for you is fine.
| | 01:54 | There is also nDo2
available as a separate package.
| | 01:58 | Making a normal map from a bump
map is pretty much the same all over.
| | 02:01 | White is high and black is low in a
bump, and in a normal map that gives
| | 02:05 | you your strength in blue.
| | 02:07 | What these will do is give you red and
green for direction by looking at which
| | 02:11 | way the bump is coming out and where it
needs to have the surface lead into it.
| | 02:17 | Under xNormal, I'll choose Height2Normals.
| | 02:19 | In the xNormal dialog, I've
got some fairly simple control.
| | 02:24 | First, there is smoothing.
| | 02:25 | How much smoothing or
softening is it giving to my normals?
| | 02:29 | We typically want normal maps to be
fairly soft-looking. That way when they
| | 02:33 | apply on something, they're not jagged, as
they're trying to force this surface out too much.
| | 02:39 | I might reduce this down just a
little bit and see how it looks, maybe a
| | 02:42 | smoothing of .5. We can swizzle the
colors if we need, and sometimes we'll see
| | 02:47 | this, depending on what
application we're going to.
| | 02:49 | I'm going to leave it at the default.
| | 02:50 | What this lets us do, if we need, is
depending on compatibility, let's say Maya or
| | 02:55 | 3ds Max, we may need to flop
the red and green channels.
| | 02:59 | I'll leave it alone and
click Update and we're updated.
| | 03:03 | I'm ready to export my normal map.
| | 03:05 | I'll hit Continue, and there's the normal.
| | 03:09 | I can just see the rust bubbles,
and there's the other pieces I've added in.
| | 03:13 | It doesn't look much different from
the bump, with the exception of being the
| | 03:16 | rainbow colors we expect of a normal.
| | 03:18 | Now here's the big test.
| | 03:20 | I'll take this over to
Maya and see how it looks.
| | 03:22 | What I'll do is turn on the colors,
turn on the specular, but leave the Gray
| | 03:28 | bump off in my Gas_pump.bump group.
| | 03:30 | It'll look to the normal map instead.
| | 03:33 | I'll save this out, choosing File > Save As.
| | 03:36 | I'll save this out as
02_14_gas_pump_end and update it in Maya.
| | 03:41 | Back here in Maya I'm going to go
back to Object mode and pick the object.
| | 03:45 | I'll go into those textures for
specular and color and bump and swap out the
| | 03:50 | right PSD, 02_14_gas_pump_end.
| | 03:56 | I'll pick the pump and delete the transparency.
| | 04:00 | I'll scroll down and update
the specular color as well.
| | 04:03 | Then I'll see how it looks.
| | 04:07 | So we can see it clearly.
| | 04:08 | I've updated only the red gas pump's nodes.
| | 04:11 | This way we can see a comparison between a
bump and the normal here on our high-quality display.
| | 04:16 | It's not great-looking so far.
| | 04:18 | We can see that normal map
pixelating and scintillating.
| | 04:21 | What I need to do is to select
it and go into the bump group.
| | 04:25 | In the bump, I'll go up to the
output connection, and in here is the
| | 04:29 | standard bump2d node.
| | 04:31 | I'll change Use As from Bump down to
Tangent Space Normals, and I can always play
| | 04:36 | with the depth if I need.
| | 04:37 | What I may want to do is make sure
I put it out with the right depth
| | 04:40 | in Photoshop first.
| | 04:42 | There is my normal, and we
can see as I pan around, that
| | 04:45 | that surface is soft and
bumpy looking correctly.
| | 04:49 | Here's the difference.
| | 04:50 | When we look at the bump on the blue,
it looks much harder, much more chiseled.
| | 04:55 | As I pan around and we can see the light
on it, we can see it not pixelating but
| | 05:00 | looking edgy and white in places.
| | 05:02 | The reason for this is that a bump is
just strength in and out, versus a normal
| | 05:07 | map which is strength plus direction,
so that the rust bubbles here on the red
| | 05:11 | gas pump look like they're reorienting
to the light and the surface has bubbled
| | 05:15 | up in round bumps around these rivets.
| | 05:19 | This is going to look terrific in a game.
| | 05:21 | I'll update the blue gas pump and see
if there's anything else I need to do in
| | 05:24 | my normal map to tweak it,
but the basic idea is there.
| | 05:28 | The difference is clear though.
| | 05:29 | Once we get a color and a normal on,
it's very believably, well, a rusted old
| | 05:33 | gas pump, just as we expected it to be.
| | Collapse this transcript |
| Testing the maps| 00:00 | I have got my gas pumps completed, and I am
ready to bring them over into Unity to test
| | 00:04 | out and see how they look in the game engine.
| | 00:07 | I'm going to do some exporting, but before
that I'll walk through a little bit of the
| | 00:10 | project structure in Unity so I
can get these in the right place.
| | 00:15 | I've made a blank project here in Unity and
imported in a lot of the standard assets I
| | 00:18 | think I'll need, such as player
controllers, image effects, and so forth.
| | 00:23 | If you need help on this, refer to the
exercises video where I detail the project structure
| | 00:28 | I am going to use.
| | 00:29 | What I'll do in here as the start of my
import is to give myself a couple of folders, just
| | 00:33 | so I can stay organized.
| | 00:35 | When we import things in Unity, it's actually
whatever's in the Assets folder in our project structure.
| | 00:41 | What I'll do is right-click
and choose Create > Folder.
| | 00:45 | I'm going to make a new folder in here called
Textures, and I'll put my textures in there.
| | 00:50 | I'll also make another new
folder in here called Scenes.
| | 00:52 | I am going to work in separate Unity scenes
depending on where I am and what I'm doing.
| | 00:57 | This would be a testing scene as an example,
| | 00:59 | so I'll keep it separate.
| | 01:01 | It's very likely that we're going to see multiple
scenes in a game which actually make up part of a level.
| | 01:07 | I'll take this and drag it out, because it
created as part of the Textures folder.
| | 01:11 | Now they're in the same level.
| | 01:13 | I'll make sure I have named this
properly, calling it Scenes and hitting Enter.
| | 01:18 | Now I am ready to do some
exporting and importing.
| | 01:22 | Here in my Exercise Files folder is my Game Props
Unity folder, and that's my actual Unity project.
| | 01:28 | In here is the Assets folder, and there's the
two folders I just made: Textures and Scenes.
| | 01:34 | If I were to put things simply in Assets, very
quickly that project window could get very cluttered,
| | 01:39 | so it's a good idea, just like we are organizing
in Maya and Photoshop, to be organized in Unity.
| | 01:45 | Now I am ready to start exporting.
| | 01:46 | I'll go over to Maya and
export the mesh first.
| | 01:49 | I am going to take one gas pump out and I'll
bring in the textures and swap them in and out.
| | 01:55 | It's better to do that in an instance
of mesh than it is to bring in both.
| | 01:59 | I'll pick one gas pump and
choose File > Export Selection.
| | 02:05 | In the Export dialog I'm going to export out
an FBX file. Although we can take in a native
| | 02:10 | Maya ASCII or Maya Binary into Unity,
| | 02:13 | sometimes it tends to hang a little bit,
depending on what version of Maya we've got and what
| | 02:16 | version of Unity we're using.
| | 02:18 | An FBX file is always safe.
| | 02:21 | What I'll do is make sure
this goes in the right place,
| | 02:24 | browsing down to my Desktop and
going into that Unity project.
| | 02:29 | I'll put it in the Assets, and I am going to
leave this just here in the Assets folder.
| | 02:33 | I can always organize later.
| | 02:35 | I'll call this 02_15_export.
| | 02:39 | I am exporting out as an FBX file, and I've done some
customization in the export I'd like to go over.
| | 02:46 | First, under the Include Options, I've made sure that
I'm including Smoothing Groups and Smooth Mesh.
| | 02:53 | This'll take my hard and soft edges over.
| | 02:55 | Additionally, I've unchecked Lights to
make sure my lights don't come across.
| | 02:59 | I am also going to uncheck Cameras, although
I don't think that will be a problem as I
| | 03:03 | don't have any of my viewport cameras showing.
| | 03:06 | There's no animation to worry about.
| | 03:08 | And I'm not going to embed any media.
| | 03:11 | Under Units, and this is where I want to make a
big choice, I'm going to check Files converted
| | 03:16 | to: Meters and uncheck Automatic.
| | 03:18 | I've been working in inches and
my gas pump is about 5 feet tall.
| | 03:22 | However, Unity's units are meters,
| | 03:25 | so I want to convert or remeasure my objects
to meters rather than rescaling so that when
| | 03:29 | I'm standing next to the gas
pump, it's the right height.
| | 03:32 | I'll hit Export Selection and when I go
into Unity, it'll pull that in automatically.
| | 03:38 | Here in Unity, it pauses for a second and refreshes,
and there is my gas pump, my file called 02_15_export
| | 03:45 | and there down in the Preview window
in the lower-right is my gas pump.
| | 03:49 | What I'll do is put the Scale Factor at 1,
because I had optimized this and sized it correctly.
| | 03:54 | I'm not going to worry too much about colliders
or optimizing them for physics at the moment.
| | 03:59 | Just check Generate Colliders.
| | 04:01 | What I might see is that instead of generating
colliders, I'll make this part of a package
| | 04:06 | and put a box collider on it instead of letting
every polygon on the mesh be part of the collider.
| | 04:12 | For now, I'll just check Generate.
| | 04:14 | I'll scroll down and click Apply.
| | 04:17 | This comes in with a material already on it
called Gas_pump, which is a simple blinn shader
| | 04:21 | with just a diffuse map.
| | 04:23 | There's nothing in there at
the moment so it's just white.
| | 04:25 | I'll go get my textures and then
start to plug things into my scene.
| | 04:30 | Here in Photoshop, I've got my linked PSD.
| | 04:33 | This is one that I've made a
network into Maya with for texturing.
| | 04:36 | What I am going to do is start saving out
flattened images and let Unity downsize them.
| | 04:41 | I'll turn off my specular map
for now, and there is my normal.
| | 04:44 | I'll press Ctrl+Shift+S and
save this out as a TIFF.
| | 04:49 | I'll uncheck layers, saving as a copy, and
I'm going to put this into my Unity project.
| | 04:55 | Here in Assets, in the Textures folder,
| | 04:57 | I'll name this gas_pump_normal.
| | 05:02 | In the Compression, I'm
going to let it be None.
| | 05:04 | I am going to let Unity handle the Compression,
as it is a very good job of it, and click OK.
| | 05:11 | I'm going to save out the blue gas pump image,
| | 05:14 | but I need to do something
with the specular map first.
| | 05:17 | We can take a specular channel
into Unity as part of an alpha.
| | 05:21 | Being I am not using the alpha channel for
anything as part of my color or transparency,
| | 05:24 | I am going to put the specularity in there.
| | 05:28 | What I'll do is go into that specularColor,
selecting it, opening up the group, and grouping
| | 05:34 | those layers, pressing Ctrl+G.
| | 05:36 | Now I'll take this group and clone
it by holding Alt and dragging it.
| | 05:40 | I'll take the clone and
flatten it, pressing Ctrl+E.
| | 05:45 | Now I am going to take this cloned flattened group,
select all by pressing Ctrl+A, and Ctrl+C for copy.
| | 05:52 | I'll go into the Channels palette and make
a new alpha channel, and I'll press Ctrl+V
| | 05:57 | to paste this in.
| | 05:58 | If I were to use this in Maya, the alpha channel
would try to go into the transparency, giving
| | 06:03 | me a semitransparent gas pump.
| | 06:05 | However, in Unity this is
going to give me my specularity.
| | 06:08 | I'll turn back on my RGBs
and go back to my layers.
| | 06:12 | I need to make sure in my channels, however,
that RGB is selected so that in my Layers
| | 06:17 | palette I can actually pick something.
| | 06:19 | Now I'll turn off that specularColor group,
and here's my blue gas pump ready for saving.
| | 06:25 | I'll press Ctrl+Shift+S and save this out as a
TIFF, this time including the alpha channel.
| | 06:31 | I'll put this into my Textures
folder in my Unity project.
| | 06:36 | In Textures, I'll call this gas_pump_blue, and I'm
saving as a copy with an alpha channel. It's saved out,
| | 06:44 | and I am going to choose my
Compression as None again.
| | 06:47 | Now I'll save about the red gas pump.
| | 06:50 | I'll press Ctrl+Shift+S and
save this as a TIFF again.
| | 06:53 | I'm saving without layers, with
an alpha channel, as a copy.
| | 06:58 | I'll put this into my Textures
folder in my Unity project.
| | 07:01 | I'll call this gas_pump_red.
| | 07:03 | Notice that the Preview window
shows it is partially transparent.
| | 07:08 | Now I'll go into Unity and
start assembling these.
| | 07:12 | Unity paused for a minute and the Textures group
down in the bottom shows me those images I brought in.
| | 07:17 | What I need to do is first pick the normal map and in
the Inspector make sure it's regarded as a normal map.
| | 07:24 | I can also uncheck Create from
Grayscale as I made a normal map as I wanted.
| | 07:28 | I'll click Apply and now I am ready
to downsize some of these images.
| | 07:32 | It has an automatic downsizing.
| | 07:34 | We can see here down in the bottom,
as it's coming in at 1024 x 1024.
| | 07:39 | We can get to this in our project settings if we
need or we can set a downsizing as we'd like.
| | 07:45 | The Max Size here is 1024.
| | 07:47 | I am going to do the same with my other images,
trying them at 1024 first and then seeing
| | 07:52 | how they look at 512.
| | 07:54 | Now I am going to change my material, selecting
the Gas_pump material and dropping down under
| | 07:58 | the shader to pick Bump Specular.
| | 08:00 | What this has is a base in the RGB, the gloss,
or shininess, in the alpha and a normal map.
| | 08:07 | I'll drag my normal map into the normal slot,
and I'll pick my blue gas pump and drag it
| | 08:13 | across into the diffuse.
| | 08:15 | It's got its alpha along with it, and now I
am going to pull the gas pump in the scene
| | 08:18 | and see how it looks.
| | 08:19 | There are two ways we can do this.
| | 08:21 | We can either drag the mesh straight from the
project into the scene, placing it wherever
| | 08:25 | we like, or drag it into the hierarchy, landing it in
the scene exactly where it was created in Maya.
| | 08:31 | I am going to take that option
and press F to focus on it.
| | 08:35 | There is my gas pump, and it's got its blue
texture, and the specular channel is working nicely.
| | 08:40 | What I am going to do is duplicate it,
pressing Ctrl+D, and sliding the duplicate over.
| | 08:47 | Instead of importing another mesh, this
instance is the existing mesh saving memory.
| | 08:50 | I am going to rename this gas pump Gas_pumpB
for blue. Then I'll press Ctrl+D to duplicate
| | 08:57 | it and call it Gas_pumpR for red.
| | 09:00 | This is simply a working or a scratch scene,
| | 09:02 | so I don't mind having
some extra pieces in here.
| | 09:05 | In Gas_pumpR (red) I'll click on
Select and choose my red gas pump instead.
| | 09:11 | Now I'll take this material
and drag it onto my clone.
| | 09:15 | There are my two gas pumps.
| | 09:16 | The final test is to put a light
in the scene and see how it looks.
| | 09:20 | I'll choose GameObject > Create Other, and put
a Directional Light in to simulate the sun.
| | 09:26 | I'll back out and move this out, spinning
it around so it lights up my gas pumps.
| | 09:32 | I'll move this up in the sky
and pull it back even further.
| | 09:36 | I'll put a floor in, choosing
GameObject > Create Other > Plane.
| | 09:41 | I'll take this plane, hold V
for Snap, and snap it down.
| | 09:46 | If you notice, the Snap isn't
working, and there is a reason for that.
| | 09:49 | You hold V for Snap, snap to a vertex,
and then snap onto another vertex.
| | 09:55 | It takes a minute to get used to,
but it works quite nicely after a while.
| | 09:59 | Lastly, so I can navigate around these,
I'll go into my Standard Assets, and there's my
| | 10:03 | Character Controllers.
| | 10:04 | I'll take a First Person
Controller and pull it in.
| | 10:07 | This is the big test.
| | 10:09 | Is it the right size?
| | 10:11 | Knowing that the First Person Controller in
Unity is 2 meters high, which is over 6 feet,
| | 10:16 | the gas pumps are the right size.
| | 10:19 | So I made them correctly and
I imported them properly.
| | 10:22 | I'll pick my light and turn on Soft Shadows.
| | 10:26 | This is a Developer version,
or a Pro version, of Unity.
| | 10:29 | If you're working with Unity Indie, you will
need to bake your lighting to see the shadows.
| | 10:33 | Really, I just wanted to be able to show it
there so we can see how they shadow and if
| | 10:36 | the curves are working.
| | 10:37 | I'll get the same results baking in Unity Indie as I
do in real-time Soft Shadows here. I'll hit Play.
| | 10:44 | Unity will regard my First Person Controller
as the default camera, doing so correctly, and
| | 10:49 | I'll see how it looks.
| | 10:50 | There are the pumps, and I
can get pretty close to them.
| | 10:54 | I can't quite jump over, but I can almost
read the text there on the dials. Even at 1024,
| | 10:59 | it's definitely looking correct.
| | 11:02 | They look rusty and they look
unique and definitely like two old beaten-up, rusty gas pumps.
| | 11:07 |
| | Collapse this transcript |
|
|
3. Modeling Tools and Small PropsOverview of modeling small props| 00:00 | In this chapter, I'll look at modeling small
tools and props like we would find in a game.
| | 00:05 | Very often in the game, we're going to need
a bunch of things left around, whether it's
| | 00:08 | for the player to find or simply to
add to the ambiance of the place.
| | 00:12 | As an example, I'm going to have these tools
maybe strewn around going to the doors of
| | 00:16 | my abandoned gas station I made
in the Game Environments course.
| | 00:19 | I might need one of these to get into a gas pump to
dig out something, or to open up a door to go in.
| | 00:25 | What we need to think of when we are modeling
tools like this is there's a good chance that the
| | 00:29 | player is going to hold onto it,
| | 00:30 | and we might need to see it fairly close-up.
| | 00:32 | However, there's not a lot of
detail on these necessarily.
| | 00:36 | We need to make sure that the
silhouette really holds true.
| | 00:39 | We can also get away with not too many polygons on
round elements--again, because they are fairly small.
| | 00:44 | We need good reference to start
with, just like with any other model.
| | 00:47 | We need to know not only how do they look clean,
but how do they get dirty or worn down.
| | 00:51 | I have pulled out some images of a
sledgehammer, a few other hammers, and a prybar.
| | 00:56 | I'll model a short sledgehammer and
a prybar as part of this exercise.
| | 01:00 | One of the other things to consider in modeling
small props--and I'll look at this sledgehammer
| | 01:03 | as an example--is that we're going to
deal with these as part of a texture sheet.
| | 01:08 | Although I can zoom in this close in the
photo, really in a game it's going to be
| | 01:12 | something like this, where the texture
needs to be generally in the right place.
| | 01:17 | It's also fairly linear.
| | 01:19 | What that means is that, well, there's the
handle and then there is the head and if we
| | 01:23 | look at the prybar on the side,
it's a long skinny piece.
| | 01:27 | We can't spare an entire
texture just for this one tool,
| | 01:29 | so we'll make it part of a sheet, either
stacking UVs or having a texture sheet where we see
| | 01:34 | different raw textures that we can simply lay
UVs onto to make the right looking stuff.
| | 01:39 | For these tools, I might end up with a
section of black chipped iron, a section of rusty
| | 01:44 | metal, and a section of wood.
| | 01:46 | I may also end up with some other pieces in
there, such as galvanized steel or something
| | 01:50 | similar, to lay other parts onto.
| | 01:52 | With a little careful planning, we can get
a good-looking texture sheet going and any
| | 01:56 | number of tools to flesh
out our game environment.
| | 01:58 |
| | Collapse this transcript |
| Modeling a sledgehammer| 00:00 | In this video, I'll dive into
modeling my sledgehammer to start.
| | 00:03 | I'm going to model a short handle, maybe a 3- or
5-pound sledgehammer, like we can see here.
| | 00:08 | I need to keep the geometry minimal, as I
may have lots of tools like this around,
| | 00:12 | so getting the silhouette and the
major contours right is important.
| | 00:15 | I'm going to estimate that this is probably
maybe a foot tall or 14 inches, by about five
| | 00:21 | or six wide, and maybe two or three across.
| | 00:23 | I'll go into Maya and start
out a bounding box first.
| | 00:26 | I've got a clean scene here in Maya, and I'm
going to turn on my grid to provide a quick
| | 00:30 | visual reference where 0, 0 is.
| | 00:32 | I'll hold Shift and right-click and
start out by making a poly cylinder.
| | 00:36 | I'm working in centimeters to start.
| | 00:38 | As the default Maya units are centimeters,
I'm going to change this over to inches.
| | 00:42 | Remember, I can always remeasure something
when I export, converting to meters as needed.
| | 00:47 | I'll go into Window > Settings/Preferences >
Preferences and under Preferences in settings,
| | 00:52 | I'll put my Linear units in inches.
| | 00:54 | I'll click Save, and now I'll put
some dimensions in for this cylinder.
| | 00:58 | This will be the handle, and I'm going to put
it at a Radius of three quarters of an inch,
| | 01:03 | or .75, and a height of a foot.
| | 01:06 | I am going to reduce the
number of subdivisions down.
| | 01:09 | I'll bring this down to 10. That will let me
have some decent roundness without breaking
| | 01:13 | the bank in poly count.
| | 01:14 | Now I'll put this at 0, 0, jumping over to
the first tab in the Attribute Editor where
| | 01:19 | I've got my Translation, Rotation, and Scale.
I'm going to zero these out and then make
| | 01:23 | sure that the Y is at 6, half the distance up, or
where the center is, putting the bottom at 0.
| | 01:29 | I'm going to give this a
little bit of a contour.
| | 01:32 | I'll go back and look at the reference
briefly and see where I need to shape that handle.
| | 01:36 | The handle tapers, as I can see here, where
it starts out fairly wide, almost more of an
| | 01:41 | ovoid or egg-shaped section, curves
in gently, and tapers into the head.
| | 01:46 | I'll add a couple of
divisions and taper this in.
| | 01:49 | In my poly cylinder, I'll put
the Subdivisions Height at 3.
| | 01:52 | Now I'm ready to scale this.
| | 01:54 | I'll press 5 for shaded view and R for scale.
| | 01:58 | I'm going to do a non-uniform scale in this,
scaling on the X axis only, pulling this in,
| | 02:03 | and I'm watching down in the very lower-left in
my screen to see how much I'm scaling in by.
| | 02:08 | I'm going to scale it in by about .8 or so,
give or take, giving me that oval section.
| | 02:13 | Now I'll give it a little bit of a curve
here so the handle flares out at the end.
| | 02:17 | What I'll do is press F9 for vertex.
| | 02:20 | You can work by edge, by vertex, or by face. It
really doesn't matter. It's whatever suits you.
| | 02:25 | I'll pick the top where it intersects the head and
press R for Scale if I'm not in Scale already.
| | 02:30 | I'll hold Ctrl and scale on the green Y axis,
which will scale X and Z proportionately.
| | 02:36 | I'll pull this in, again looking at
the scale, taking it down to about .8.
| | 02:40 | Now that I've got a taper established, I can start to
take these loops and scale them in. I'll pick these.
| | 02:46 | Again, I can work by edge loop or by vertex.
| | 02:49 | I'm going to scale in a little bit on the Z
to narrow this down, and then I'll pick the
| | 02:54 | one below it, again scaling
in on Z just a little bit.
| | 02:57 | It may be helpful in this case to go into a
side or front view and look at the handle,
| | 03:01 | making sure it's scaled in the right way.
| | 03:03 | I need to go in my front view, and I
should be able to see the taper.
| | 03:07 | I'll make sure that in a front view and a
side, it's got a little bit of a curve to
| | 03:11 | it, scaling these in so it's
really got some flair to the bottom.
| | 03:15 | I'll check in a side view as well.
| | 03:17 | We want to maximize our polygon usage on
small tools as much as we can, getting the most
| | 03:22 | mileage in every direction,
or view, out of each one.
| | 03:25 | Now I'm going to put the head on.
| | 03:27 | I'm going to bevel the bottom of this,
giving it a little extra bit of an edge, so it's
| | 03:31 | not a perfect corner.
| | 03:32 | I'll press F11 for Face and spin so I can
select those bottom faces, selecting around
| | 03:37 | them and holding Ctrl to deselect
by crossing the vertical faces.
| | 03:42 | I'll hold Shift and right-
click and choose Extrude Face.
| | 03:45 | I'll switch my extrude over
to the world coordinates.
| | 03:48 | I'll turn off the grid, so it's easier to
see and click on the blue local world toggle
| | 03:52 | up here in the upper-right.
| | 03:54 | This way all the faces come out together.
| | 03:56 | I'll pull down on the Y axis, then hold Ctrl and
scale on the Y, which scales in X and Z together.
| | 04:03 | There is a beveled edge on
the bottom of the hammer.
| | 04:05 | Now, I'm ready to make the head.
| | 04:07 | I'll go into a front view, pressing the Hotbox
and choosing Front View on the Maya button.
| | 04:11 | I'm going to make the head, starting out
with the box, holding Shift and right-clicking
| | 04:15 | and choosing Poly Cube.
| | 04:17 | I'll make a cube and put in the
dimensions here in the Attribute Editor.
| | 04:20 | I'll choose polyCube1 and give it a
Width of 2, a Height of 6, and a Depth of 2.
| | 04:27 | I'll also give it on the
Height, 3 Subdivision.
| | 04:30 | I'll go back in my perspective, and
there is the start of my hammerhead.
| | 04:33 | Now to add those typical corners, giving me
an octagonal face, what I can see I need to
| | 04:38 | do here, and this is why I gave it three sections
along the height, is to scale in those two edge
| | 04:43 | loops slightly so I have a little
more length in the chamfer here.
| | 04:47 | Then I'm going to take those edges and
bevel them, giving me an octagonal face.
| | 04:51 | I'll press F10 for edge, double-clicking on
the edge loop, holding Shift, and picking its
| | 04:56 | counterpart, then pressing R for scale
and pulling these in just a little bit.
| | 05:00 | Now I'm going to bevel the head, selecting
all four of these corner edges on one side,
| | 05:06 | holding Shift, and grabbing the others.
| | 05:08 | Making sure I have nothing else selected,
I'll hold Shift and right-click and choose Bevel Edge.
| | 05:13 | In Bevel, I'll uncheck Offset As a Fraction.
That way the shape doesn't cross over itself.
| | 05:17 | And I'll bring the Offset out just a little
bit, maybe .375. There is my sledgehammer.
| | 05:23 | I can always push things back and forth if
needed, but I'll get it aligned on the head
| | 05:27 | and see how it looks.
| | 05:28 | I'll press F8 for the whole object,
hold Shift, and select the handle.
| | 05:33 | I'll press Hotbox and Modify > Align tool.
| | 05:36 | I'll put them on the
centers and snap top to top.
| | 05:40 | What I'll do is pick this head and pull it
down ever so slightly, letting the geometry
| | 05:44 | actually pass right through.
| | 05:46 | What this will let me do is have the
woodgrain on the end show cleanly through.
| | 05:50 | There is my sledgehammer, ready for texture.
| | 05:52 | It was fairly simple when I was paying
attention to the key parts in here.
| | 05:55 | I needed to make sure I had an octagonal head
and a good curve on the handle so that from
| | 06:00 | any view it appears to
change over that section.
| | 06:03 | In the next video, I'll model my pry bar and
get in the right curves and right facets.
| | 06:08 | Then I'll look at softening both
objects and finally, texturing them.
| | 06:11 |
| | Collapse this transcript |
| Modeling a pry bar| 00:00 | In this video, I'll model a pry bar
to go along with the sledgehammer.
| | 00:04 | We often need to see tools and things around
the game environment, whether they're there
| | 00:08 | as simply objects or we can
pick them up and use them.
| | 00:11 | For the pry bar, I need to start out with some
kind of six-sided piece, and it needs to have
| | 00:16 | a curve at the end.
| | 00:17 | What really happens is they start out with an
extruded piece of steel, bend it, and then
| | 00:21 | smash the end flat and cut in a
notch here for pulling out nails.
| | 00:25 | I'm going to treat it slightly differently,
but fairly close, in that I'll start with
| | 00:29 | the curved form first, as I can make this
easily and then extrude the straight piece out.
| | 00:34 | Looking at the reference, we can see
that there's an orientation of the facet.
| | 00:37 | We need to be able to grip a flat side
and that will be key in how I make it.
| | 00:41 | We've got different kind of pry bars
available, and this one is a straight pry bar,
| | 00:45 | not nearly as exciting as the hook one I'm
going to make, but still noteworthy in how
| | 00:49 | it's worn and also where that flat side is.
| | 00:52 | Here in Maya, I'll start out with a torus.
| | 00:53 | I've got my sledgehammer in the scene.
| | 00:55 | I'm planning on making most of my props in
one scene, and exporting them individually.
| | 00:59 | That way I can tag them in Unity if
I need for picking up or animation.
| | 01:04 | I'll hold Shift and right-
click and choose Poly Torus.
| | 01:06 | I'll click and drag and make a torus and
then come back to the Attribute Editor and
| | 01:10 | deal with the radii and size.
| | 01:12 | Here in polyTorus1, I'm going to say that
the curve, the J at the end, has a radius of
| | 01:17 | 3 inches, has a section radius of 0.5,
and 16 subdivisions on the axis.
| | 01:23 | This will let it look fairly round but not
give me an excessive number of polygons.
| | 01:27 | I'll take the Subdivisions Height down to 6, and there
is my six-sided pry bar--well, almost. Here's the key.
| | 01:33 | Remember I said that the flat
side is the one we need to grip.
| | 01:37 | Right now, if we were to extrude this as a
pry bar, we'd be gripping one of the edges,
| | 01:40 | so I'll put the twist in this at
90, and there's that flat side.
| | 01:45 | One of the big things in modeling is to
start round shapes with round objects.
| | 01:49 | Can we take a box and
bend it into a curve? Yes.
| | 01:52 | Is it easier to start with a curve and
extrude a straight part from it? Yes.
| | 01:56 | I'll go into a top view by pressing and holding the
spacebar for the Hotbox and choosing top view.
| | 02:01 | I'll press F to focus, and
there is the start of my pry bar.
| | 02:05 | I'll press F11 for the Face,
and start deleting some pieces.
| | 02:08 | I'm going to take off the bottom
half and take off most of one side.
| | 02:12 | This will give me the short end and a flange
here, and then I'll extrude down here to make
| | 02:17 | the rest of the pry bar.
| | 02:18 | I'll go back to my perspective view,
press F8 for object and F to focus.
| | 02:23 | If you're in a component and you press F to
focus, it will focus on the entire scene, because
| | 02:27 | nothing is selected.
| | 02:28 | If you've got a component selected,
focus will go around just that component.
| | 02:32 | I'll press F10 for edge and double-click on the border
edge that's now at the end of what was the torus.
| | 02:38 | I'll zoom out, hold Shift and
right-click, and choose Extrude Edge.
| | 02:41 | I'm going to switch over to the world
access for this one, pulling on the Z axis.
| | 02:46 | Then I'll come over to the Transform Attributes and
look in the Translate, and there's that Z distance.
| | 02:50 | I'll put it out at 12 to
give my pry bar some length.
| | 02:53 | Now I'm ready to make the ends here.
| | 02:55 | I'll zoom in, hold Shift and right-
click, and choose Extrude Edge again.
| | 02:58 | I'm going to extrude this out, again
switching to the world access. And I'll extrude out
| | 03:04 | to make the flange, scale it down on
the X axis, and scale out on the Y.
| | 03:09 | Even though it does come to a nice sharp point,
what I'm going to do is actually close up
| | 03:13 | this hole, and then I'll flatten it out so
it's got a polygon on the end. That will avoid
| | 03:17 | some smoothing or softening issues later,
and also some anti-aliasing issues by trying
| | 03:21 | to display a single polygon.
| | 03:23 | I'll scale it nice and flat and see
if it's the right size and shape.
| | 03:26 | It looks pretty good as it flanges out.
| | 03:28 | If you'd like, as a variation, you can extrude
one more time and give it a little bit of
| | 03:32 | a straight piece here.
| | 03:34 | I'll do that, and in this case, I'm also going to
use that extra extrusion so I can add the notch in.
| | 03:39 | Now it's in the right shape.
| | 03:40 | I'll close it up, hold Shift and
right-click, and choose Fill Hole.
| | 03:44 | I'll press F11 for Face and pick that end.
| | 03:47 | I'm going to scale it down just a
little bit more so it's nearly flat.
| | 03:50 | There is my pry bar, and this will alias, or
anti-alias depending on my settings, nicely.
| | 03:56 | Now I'm ready to make the notch at the end.
| | 03:58 | Before I do that, I need to make sure that
this flattened piece is in the right place.
| | 04:02 | I'll check in the top view and zoom in on it.
| | 04:06 | Depending on the pry bar, this may be to
one side of the other, or in the center.
| | 04:09 | I'm going to grab mine and, with the
Move tool, pull it down on to one side.
| | 04:13 | I have an error down here, and what that's caused
by is leaving that Preserve UVs checkbox on.
| | 04:18 | I'll go over to the Move tool.
| | 04:20 | By double-clicking on the Move tool, I get to the
Move settings, and there's that Preserve UVs check.
| | 04:25 | It's okay to check and uncheck this as
you need so you can move things around.
| | 04:28 | As I haven't unwrapped this, using the
Preserve UVs is giving me an error.
| | 04:32 | I'll close it and now I can slide this over.
| | 04:35 | I'm ready to make this split at the end.
| | 04:37 | On my Hotbox, under Edit > Mesh, I'll
choose the Interactive Split tool.
| | 04:41 | What I'll do is zoom in and click on a vertex,
and then the Split will tool come up to the middle
| | 04:46 | of the next edge.
| | 04:47 | I'll go up there and back to the
opposing vertex and hit Enter.
| | 04:51 | I'll zoom around to the other side
and put the same kind of split in.
| | 04:55 | I'll press G to repeat last, put the split in
from vertex to center to vertex, and hit Enter.
| | 05:01 | I'll do it one more time at the bottom, pressing G to
repeat last and snapping from vertex to vertex.
| | 05:07 | With those in place, I can delete faces,
pressing F11. And either Q for Select or W for Move
| | 05:13 | will work nicely, deleting out the
faces. That will be this notch.
| | 05:16 | Now, I can bridge cleanly across these,
instead of having a triangular face. I'll press F10
| | 05:21 | for edge and select two of these edges, holding
Shift and right-clicking and choosing Bridge.
| | 05:26 | Before I choose Bridge though,
I'll look in the dialog.
| | 05:29 | The default setting for the
Bridge has divisions of 5.
| | 05:32 | I'm going to bring that down so I'm
bridging across with one polygon.
| | 05:36 | I'll hit Bridge and go pick the other.
| | 05:39 | Now here's a quick technique I use.
| | 05:40 | I know there is two edges
here that I need to select.
| | 05:43 | I know also that these are the only
two open edges I'm going to select,
| | 05:47 | so I'm going to draw a marquee there.
| | 05:48 | I actually selected some
other edges, and that's fine.
| | 05:51 | I'll hold Shift and right-click or
hit G to bridge again and bridge.
| | 05:55 | Maya is pretty smart in this case
and will only bridge the open edges.
| | 05:59 | I'll go back in my side view and make
sure the notch looks okay in the pry bar.
| | 06:04 | If I need, I can press F9 for vertex, take
these middle vertices and scale them in, just
| | 06:08 | to bring that notch down in size a little bit.
| | 06:11 | I can also take these middle ones and pull
them back if it doesn't look long enough.
| | 06:15 | There is the end of my pry bar,
and it's going to render nicely in my game.
| | 06:19 | I'll repeat the process up at the to, and
then get ready to deal with softening edges
| | 06:23 | and making sure they're
hard so it's still faceted.
| | 06:26 |
| | Collapse this transcript |
| Adding detail and hardening edges| 00:00 | I've got my pry bar and sledgehammer in place,
and I am ready to see if there is any more
| | 00:04 | detail I need and to work,
over my hard and soft edges.
| | 00:07 | It looks like the sledgehammer head is a little
bit wide. I am going to scale these in, taking
| | 00:12 | the end faces and scaling them just to bring
down that width, and then I'll work over the
| | 00:16 | hard and soft edges a bit.
| | 00:18 | I'll pick these end faces, picking one
holding Shift and picking the other, pressing F to
| | 00:22 | focus, so I am zoomed in
nice and big, and R for scale.
| | 00:25 | A lot of times in modeling I'll
actually scale components like this.
| | 00:29 | That looks a little better;
the proportion's right on.
| | 00:31 | I think what I'll actually do to add a
little bit more detail is bring this back just a
| | 00:35 | little further and extrude it one more time.
| | 00:38 | I'll hold Shift and right-click and extrude.
And in this case because these are aligned
| | 00:42 | to the world axes, their z axis goes straight
out because it was started as a box in the
| | 00:47 | perspective view.
| | 00:48 | What this means I can do is grab that z and
pull it and I get an extrusion on both sides
| | 00:53 | in opposite directions
without skewing drastically.
| | 00:56 | I'll pull it out just a little bit, hold Ctrl, and
scale on the Z, and give it a little bit of a bevel.
| | 01:02 | This way instead of a perfect edge, I get a
little bit of a chamfer there, and it looks
| | 01:07 | more like that sledgehammer I've intended.
| | 01:09 | Now I am ready to deal
with hard and soft edges.
| | 01:11 | First I'll pick the handle.
| | 01:13 | On something like this which is made of wood,
it's a turned object; it started out as a
| | 01:17 | block of wood and was turned on a lathe to be
this shape and then shaped down into that oblong.
| | 01:22 | What I'll do then in this case is to soften up
all of the edges and come back and selectively
| | 01:26 | harden the ones I want,
| | 01:28 | I'll hold Shift and right-click and
choose Soften/Harden Edge > Soften Edge.
| | 01:32 | Then I'll press F10 for Edge
and I'll go up to the top.
| | 01:35 | I've got a smoothing artifact up here where
it's trying to smooth over a 90-degree bend.
| | 01:40 | I'll double-click on this edge loop up here
at the top, hold Shift and right-click, and
| | 01:44 | choose Soften/Harden Edge > Harden Edge.
| | 01:47 | Now it looks flat again, and I'll go do the same
thing at the bottom where I've added in that bevel.
| | 01:51 | I'll zoom in, double-click on 1, hold Shift
and double-click on 2, and hit G to repeat
| | 01:56 | last, hardening up those edges.
| | 01:59 | I'll press F8 for Object and deselect
and see how it looks in a smooth view.
| | 02:03 | The handle is smooth and still looks oblong.
| | 02:06 | Underneath, I can see that bevel clearly, and as long
as I'm zoomed back decently, it looks round enough.
| | 02:12 | Up here on the head in needs to be all faceted.
It's a forged chisel piece of steel, and so
| | 02:17 | I want all the facets on the bevels
and on the sides here to show up.
| | 02:21 | I am going to leave that alone, and then later I'll
put a normal map on it to dent some of these in.
| | 02:27 | Now for the pry bar. The original torus
started out with six sides, and so it had facets on it.
| | 02:32 | I've lost some of the facets
in the way I've extruded here.
| | 02:35 | What I'll do in this case is harden up all
of the edges and then come back and soften
| | 02:39 | some selectively.
| | 02:40 | I'll hold Shift and right-click and
Soften/Harden Edge > Harden Edge.
| | 02:45 | Now it's all faceted, and I can see
where I need to come back and soften.
| | 02:48 | I'll press F10 for Edge and zoom in on it.
I'll pick one of these edge loops here.
| | 02:54 | Then I'll hold Ctrl and right-
click and convert my selection.
| | 02:58 | This is a marking menu for selection, and
I'll choose Edge Ring Utilities to Edge Ring.
| | 03:03 | Because I've extruded along, I've kept the
edge ring and loop structure here, except
| | 03:07 | for the end where I have split those polygons.
| | 03:08 | I am going to hold Ctrl and deselect
the ends, making sure they stay crisp.
| | 03:13 | I'll leave the rest of those edges
selected and deselect the other ends down here.
| | 03:18 | Now I'll hold Shift and right-
click and soften up those edges.
| | 03:22 | My pry bar is just about ready.
| | 03:23 | It looks like I've got one more hard edge right
here at the V that I need to take care of,
| | 03:28 | but I've got those expected facets running
around. And that's a big deal in a model
| | 03:33 | is making sure that the stuff
we expect to be there is there,
| | 03:36 | that we don't look at this and say
"something is odd, but I can't put my finger on it.
| | 03:40 | Wait, what was I doing in this game?"
| | 03:42 | We want to be able to look and say "of course it's a
pry bar, why should I think anything different?"
| | 03:46 | And having those edges softened or
hardened correctly is a big deal.
| | 03:49 | In here, in the V, because I've used the
Split Polygon tool, I've broken the edge flow.
| | 03:53 | What I am going to do is come back and pick
both of those edges, pick their corresponding
| | 03:58 | edges on the other side, and soften them as well,
holding Shift and right-click and choosing
| | 04:03 | Soften/Harden Edge > Soften Edge.
| | 04:05 | I can see a change in the shading,
and now it's got the right look.
| | 04:08 | Depending on the model of pry bar,
you could soften up this edge as well.
| | 04:12 | I'll do that and see how it behaves.
| | 04:14 | With those edges softened,
it works really nicely.
| | 04:16 | The hard edges of the facets fade out as they would
when they're hammered flat to make the flange dent.
| | 04:22 | I've got a good soft edge,
and it looks flat and sharp.
| | 04:25 | My pry bar is in good shape, and I'll
finish up the other edges on this side too.
| | 04:29 | I'll follow that same idea, picking the
edges that should be soft--in this case four on
| | 04:34 | one side and four on the other.
| | 04:36 | Here is a chance to press F to focus.
| | 04:39 | If you noticed, I spun off the view,
because I was orbiting around something else.
| | 04:43 | I'll press F to focus in, which resets the Tumble
tool around the center of whatever is selected.
| | 04:49 | I'll zoom around and pick
these edges I need to have soft.
| | 04:52 | I'll soften them and my pry bar is
complete, ready for unwrapping.
| | 04:56 | My hammer is done as well, ready for
unwrapping and eventually combining into one mesh.
| | 05:01 | It's important always to work over your hard and soft
edges and make sure you're not letting Maya decide.
| | 05:06 | Sometimes it does a decent job when you've
got primitives that have hard and soft edges
| | 05:10 | set, but sometimes when you extrude you get
edges that are sort of hard and sort of soft
| | 05:14 | and don't do a good job at either one.
| | 05:16 | So make sure you work over hard and soft edges,
either softening everything and coming back
| | 05:20 | and hardening or hardening everything and
coming back and softening selectively.
| | 05:24 | This way in the game things will look
right and have the right silhouette.
| | Collapse this transcript |
| Unwrapping as part of building a texture sheet for small tools| 00:00 | In this video, I'll look at unwrapping
these tools as part of a texture sheet.
| | 00:04 | The idea is that we've got a bunch of small
things and rather than have a unique texture
| | 00:09 | for each one, which can eat up a lot of memory,
we're going to make a texture sheet and stack UVs in.
| | 00:14 | We'll see this a lot in games, especially in
things like props, where most of the props
| | 00:18 | may fit on one sheet and have simply sections of
material rather than a unique unwrap for that tool.
| | 00:24 | As an example on my texture sheet, I might
have a section of wood and that will work
| | 00:28 | for handles of things.
| | 00:30 | I'll have a section of dented blackened
steel and another section may be a wrought iron
| | 00:34 | and this'll accommodate most
of the things I need to do.
| | 00:37 | I'll also add in a section of aluminum, as
I'm going to make an aluminum ladder as part
| | 00:41 | of my props in later videos.
| | 00:43 | What I'll do to start out is go over to
Photoshop and take my unwrapped checkers I've included
| | 00:47 | as part of this project and lay some
colors over, giving me areas to unwrap in.
| | 00:52 | Here in Photoshop I've got my reference up,
and I can see from these various images of
| | 00:56 | the tools that they get kind of a speckly rust,
but it's not in a particular place necessarily.
| | 01:02 | We need some for wrought iron, and we
also need some for other hammers.
| | 01:06 | We can see here I've got rust on the edges
and again, on this one, it's fairly clean.
| | 01:11 | In the Game Props project, in the sourceimages,
I've included a file called 1024 x 1024template,
| | 01:17 | and it's some simple checkers here.
| | 01:19 | A lot of times what I'll do is I'll make a
copy of this as a PSD, and I'll put some colors
| | 01:23 | over to stand in for different areas in a
texture sheet. That way I can get the UVs
| | 01:28 | laid out and then come back and
paint textures and try it out.
| | 01:31 | I'll make a new layer by
pressing Ctrl+Shift+N.
| | 01:34 | I'll call this layer overlay.
| | 01:35 | Really, you can call it anything you want.
| | 01:38 | I'm going to press M for marquee and instead of
using a normal marquee, I'll use a fixed size.
| | 01:43 | I'm going to guess that I want four areas
here: one for wood, one for wrought iron,
| | 01:48 | one for ladder sections,
and one for rusty steel.
| | 01:52 | I'll see if this works and what
else I need to do that's custom.
| | 01:55 | My map is 1024 square,
| | 01:57 | so I'm going to put the Width of this at 256.
I'll put Height in here at 1024 as well.
| | 02:04 | As a side note in Photoshop, my units are set in
pixels, which I did when setting up the document.
| | 02:09 | You can also choose Edit > Preferences,
way down here at the bottom of the Edit menu.
| | 02:14 | In Preferences, there is your Units.
| | 02:16 | The default install of Photoshop, or if you
have started up for the first time, may have
| | 02:20 | the rulers set to inches.
| | 02:22 | Here's what happens if they're set to inches,
and this is an important one I see a lot
| | 02:26 | of people get tripped up on in the marquee.
| | 02:28 | Even though my document may be in pixels,
if I go up here to the marquee and set this
| | 02:34 | in at a different size, let's say 128, I'll
hit Enter and I'm dealing in 128 inches.
| | 02:40 | My marquee now spans over the entire document,
leaving me wondering what happened. I thought
| | 02:44 | I was working in a small slice of it.
| | 02:47 | I can come up here and put in px
and force it to be in pixels.
| | 02:51 | What I usually do then is to make sure my
units are in pixels, and that way I don't have
| | 02:55 | to worry about it.
| | 02:56 | There is the correct marquee as an example.
| | 02:58 | So under Edit >
Preferences, there is your Units.
| | 03:01 | You could either set them here
or when you make the document.
| | 03:04 | I'll put mine back at pixels and
start putting some colors in.
| | 03:08 | I'm going to land this marquee over those
colors and pick some other colors to lay over it.
| | 03:12 | I'll use ones that are easy to recognize.
| | 03:14 | I'm going to give this a bright
orange or gold tint to start.
| | 03:17 | I'll press G for the paint
bucket and fill that in.
| | 03:21 | I'll press M for marquee again
and slide that marquee over.
| | 03:24 | I'll choose a new color.
| | 03:26 | Now if you're feeling picky about it, in placing
them exactly, here's the other thing you can do.
| | 03:30 | I'll press V for Move, hold Alt,
and drag that layer to clone it.
| | 03:33 | It actually snaps under the other one;
layers snap onto document bounds and each other.
| | 03:38 | Then I'll use my Hue/
Saturation to change that hue around.
| | 03:41 | I'll make this, oh, let's see, here is a purple,
but I'm going to relax it a little bit, so
| | 03:46 | it's not so vibrant.
| | 03:47 | I'll do this two more times and add in
different colors so I can recognize them.
| | 03:52 | It doesn't really matter what color; it really matters
that you can recognize the difference between them.
| | 03:57 | I'll shift this one into blue and
finally do some green at the end.
| | 04:01 | I'll combine these layers by pressing Ctrl+E.
Then I'll take the Opacity down, screening
| | 04:05 | them over at, let's say 50% or so.
| | 04:08 | That will work nicely.
| | 04:09 | And when I save this out, I can recognize
where in my texture sheet I need to place
| | 04:13 | each set of polygons.
| | 04:15 | I'll save my working PSD so I
can come back to it if I need.
| | 04:18 | I'll call this 03_05_end to
correspond with the exercise.
| | 04:22 | Then I'll save out a flattened version that
I can load into Maya, pressing Ctrl+Shift+S
| | 04:26 | again and saving out as a TIFF.
| | 04:28 | I'll uncheck layers and let it be 03_05_end.
| | 04:32 | It's okay to see lots of versions in here,
and I'll save it as an uncompressed TIFF.
| | 04:35 | That way I don't get any
accidental compression.
| | 04:38 | These images aren't going to go over to Unity,
| | 04:40 | so I can have working images
that let me construct things.
| | 04:43 | Now I'll jump back to Maya
and begin with the unwrapping.
| | 04:46 | Here's how I'll make this work.
| | 04:47 | I'll pick both objects, right-
click, and assign a new material.
| | 04:51 | That new material will be a blinn and in that
blinn, in the color texture, I'll add in that
| | 04:56 | new map I've just made, sliding the
nameless slider and clicking on File.
| | 05:00 | In the File dialog, it browses right over to
the sourceimages when I click on the File
| | 05:05 | folder, and there's that screened image.
| | 05:07 | I'll open it up and hit 6 to
show those textures in the view.
| | 05:11 | What I'll do for the unwrap then is start
picking pieces in unwrapping, laying them
| | 05:15 | out in their correct sections.
| | 05:16 | I'll go by face and pick all
the faces except for the end.
| | 05:21 | I'm using Ctrl to
deselect and Shift to reselect.
| | 05:24 | I'll also press 5 to toggle off showing the
texture, so I can see my selection clearer.
| | 05:29 | Now, I'll hit it with the cylindrical unwrap,
choosing Cylindrical Mapping and grabbing
| | 05:33 | the horizontal sweep nodes in red
and wrapping them all the way around.
| | 05:37 | You can also use the slider
over here if you can't reach.
| | 05:40 | What this does then is wrap that texture around once
with one scene, which I can cover in wood grain.
| | 05:45 | Under Edit UVs then,
I'll go into my Texture Editor.
| | 05:49 | I'll turn off the image
temporarily and show those selected UVs.
| | 05:53 | There they are, shaded, and it's working nicely.
| | 05:55 | What I'm going to do is scale these in.
| | 05:58 | I'll press R for Scale and with
that shell selected, scale them.
| | 06:03 | Now if you notice, Scale
went over here into the view.
| | 06:05 | I'll make sure I use the Move Shell tool and
pick that shell, then press R for Scale and
| | 06:10 | scale them down until those
squares come back to square.
| | 06:13 | I'll take this mesh and scale it down just a
little bit more and turn back on that image.
| | 06:18 | I'm going to say that the left side in
yellow is where the woodgrain will be,
| | 06:21 | so I'll move these polygons over, stacking them in
that space, reducing down the Scale if necessary.
| | 06:27 | I'm figuring there's going to be
other wood objects I'll stack in here,
| | 06:30 | so as long as I move them around a little
bit, I can use this section of the texture
| | 06:33 | sheet for any wood parts of my tools.
| | 06:36 | I'll repeat this all the way through,
unwrapping bits and putting them in the right place in
| | 06:40 | my texture sheet.
| | 06:41 | The hammerhead will follow the same idea.
| | 06:44 | In this case, I'll take it and do an
automatic map and start stacking those UVs in, let's
| | 06:48 | say the second quarter
for generally rusty steel.
| | 06:51 | I'll also finish the bottom here, selecting
by face and hitting it with a planar map.
| | 06:56 | For this, I'll press F9 and pick the bottom vertex,
press Ctrl+F11 to convert to face, and Shift+.
| | 07:03 | to grow the selection.
| | 07:04 | I'll hit this with a planar map,
choosing Create UVs > Planar Mapping.
| | 07:08 | What I'll do--closing this editor temporarily--
is take the width and copy it to the height
| | 07:13 | so I get a nice big square unwrap.
| | 07:15 | Then I'll put in 90 in the
Rotate X and flip it flat.
| | 07:18 | A little distortion here is okay, as we'd
see the woodgrain change a little bit because
| | 07:23 | it's round and then it's cut in that bevel.
| | 07:26 | In my editor then, I can take
this piece, scale it, and stack it.
| | 07:30 | I've got this UV shell selected, and I can always
reselect with my Move UV Shell tool if needed.
| | 07:35 | I'll press R for Scale and scale it down.
| | 07:38 | I'm going to try to keep it proportionate,
but really it's so small that as long as I
| | 07:42 | get some woodgrain on,
it'll be in pretty good shape.
| | 07:44 | We're economizing on texture space,
| | 07:47 | so I want to make sure I go through and do
some unwrapping, getting all the pieces stacked
| | 07:50 | in their right areas for painting a
general section of the right texture.
| | 07:54 | I'll hit the pry bar with some cylindrical
unwrapping for the long straight piece and
| | 07:59 | then use the existing UVs right here.
| | 08:02 | Alternately, I could do a couple of
cylindrical unwraps, or some moving and sewing.
| | 08:06 | My one advantage on the pry bar in using an
automatic unwrap is that the facets exist,
| | 08:12 | that it's okay to have a texture break at a
facet like this and we can have rust that
| | 08:17 | mismatches because it's a radically different
orientation of the face on that part of the pry bar.
| | 08:22 | I'll finish it out and
unwrap the head as well.
| | 08:24 | Then I'll start in on paining my textures.
| | Collapse this transcript |
| Modeling a metal ladder| 00:00 | In this video I'll look at
modeling an aluminum ladder.
| | 00:03 | There are different kinds available.
| | 00:04 | We got an aluminum extension
ladder driven by a rope here.
| | 00:07 | There is also a ladder like this, which appears to be
an extension possibly either by a rope or by clamps.
| | 00:13 | Finally, here's a cleaner version of it.
| | 00:16 | This one probably has levers or something
that locks it into place as it extends.
| | 00:20 | My thought is, if I can put this in a game
environment, aside from filling up space,
| | 00:25 | it's a clue for the player maybe to go up
somewhere. Maybe the tools are up on a roof
| | 00:28 | as an example, and we need to go up to
get the tools to solve our next task.
| | 00:33 | It's also a good thing to have, as
it's got really interesting geometry.
| | 00:36 | We can use it as a way to block texture seams in other
objects such as the sides and backs of buildings.
| | 00:42 | A ladder like this lends itself nicely to a texture
sheet. As we can see, it's essentially two textures.
| | 00:48 | There's a side which repeats and has the
flanges where the rungs have been put through, and
| | 00:53 | there is the rungs themselves.
| | 00:55 | With some careful modeling, we can make this ladder,
and we can do it while keeping the poly count down.
| | 01:00 | I'm going to go back to Maya
and model a piece of a ladder.
| | 01:03 | I'm not sure if I'm going to do an extension
ladder yet; it might just be a long single ladder.
| | 01:07 | Back here in Maya I've got my tool file going.
| | 01:11 | I'll export this out separately, so I
don't mind making everything in one place.
| | 01:15 | I'll pan over and start out with my ladder.
| | 01:17 | The ladder is made of extruded aluminum.
| | 01:19 | So I'm going to start out with the sides.
| | 01:20 | I'll hold Shift and right-
click and make a poly cube.
| | 01:23 | If you notice here, I'm going to make any old
cube and come over to the attributes and change
| | 01:28 | it to the dimensions I want.
| | 01:29 | I'm always going to go in and change
dimensions rather than simply scaling it to size.
| | 01:34 | I find I get better objects when I try to be
as exact as possible, especially for known
| | 01:39 | things like ladders.
| | 01:41 | We may not all have gone out our garages and
measured out our ladders, but we've seen them,
| | 01:46 | that if something is a little too thin or
little too thick, it looks odd, even though
| | 01:50 | we may not be able to place exactly why.
| | 01:52 | I'll say this has a width of an inch and a
quarter, a height of, I'm not sure yet--let's
| | 01:57 | say 12 feet--and a depth of 3.5 inches.
| | 02:01 | That's the section for that ladder.
| | 02:03 | I'll see if it's too big or too small.
| | 02:05 | It looks to me offhand, judging for the
reference, that it's a little too wide.
| | 02:09 | I'll bring this back to a depth
of 3, and I think it looks better.
| | 02:12 | We can see in the ladders that some of them
have a boxy section and some of them have
| | 02:17 | more of a channel on the side.
| | 02:19 | Different ones have different looks depending on
the durability, who made it, and how it was done.
| | 02:24 | I'm going to put in a little bit of a
channel, as an extra shadow line will help.
| | 02:28 | What I'll do, and this holds up for still
construction as well, is take a face and extrude it in twice
| | 02:33 | to make a C-section.
| | 02:35 | I'll spin around so I can see it.
| | 02:37 | Now here's a node on this.
| | 02:39 | This is a very, very tall piece.
| | 02:41 | What it may be easier to do is make a
very short piece and then stretch it out.
| | 02:45 | I'm going to bring this height back.
Instead of having it the full ladder height, I'm going
| | 02:50 | to model a 12-inch piece.
| | 02:52 | I'll press F to focus and now
this is much easier to work with.
| | 02:56 | Then, later, I can grab vertices and
stretch them out to the right height.
| | 02:59 | I'll press F11 for face and pick the side
face, hold Shift and right-click and choose
| | 03:03 | Extrude Face, and extrude by scaling
on the X axis to make the flanges.
| | 03:09 | I'll press G to do it again and push this in.
| | 03:13 | There is that extruded section of my ladder,
and the shadow lines will be very nice-looking there.
| | 03:17 | I'll make sure I delete these irrational and
coplanar faces up here at the top and bottom.
| | 03:22 | What I'll do is to select those faces.
| | 03:25 | Actually, I'll select the whole ladder and hold
Ctrl to deselect the middle, then hit Delete.
| | 03:30 | Now my shape is open at the top and the bottom, but at
least it's rational. It's not crossing over itself.
| | 03:36 | I can close this up now or later
I can put some end blocks on.
| | 03:40 | I'm going to stretch this out
and get the rungs in place first.
| | 03:43 | I'll press F9 for Vertex, grab
these vertices, and press W for move.
| | 03:48 | On the Y axis, using the relative transform,
I'll put in 132, because I've had 12 inches
| | 03:54 | tall plus 132 comes back to my 144.
| | 03:57 | I'll press F8, and there
is one side of my ladder.
| | 04:00 | I'll duplicate it by pressing Ctrl+D.
| | 04:03 | Then I'll scale it or
rotate it to flip it around.
| | 04:06 | In this case, I think I'll rotate,
| | 04:07 | pressing E for rotation and pressing and holding E and
left-clicking anywhere, turning on Discrete Rotate.
| | 04:13 | This way I can spin it around to 180
degrees, snapping every 15 degrees evenly.
| | 04:18 | I'll rotate on the Y axis, clicking and
dragging on the green ring and watching in the lower
| | 04:23 | left-corner of my screen for that to read 180.
| | 04:26 | Now I'm ready to space these out.
| | 04:28 | I'll press W for Move, pick that ladder element I
just rotated, and move it off by, let's say 16 inches.
| | 04:35 | There is the sides of my
ladder, and I'm ready for rungs.
| | 04:38 | What I'm going to do is assume that on that
ladder texture it's got a flange, or whatever
| | 04:43 | that's called when the rung is pushed through
and secured, and it's really done in texture.
| | 04:47 | And that way I can have cylinders across here
that are open at the ends, economizing on polys.
| | 04:51 | I'll go into a side view, pressing and holding
the spacebar and clicking on Maya and Side View.
| | 04:57 | I'll press F to focus, and there's my seam.
| | 05:00 | I'll zoom in on my ladder, although right now it's
not important exactly where I place the rung.
| | 05:05 | I'll hold Shift and right-
click and make a poly cylinder.
| | 05:08 | I'll drag in a cylinder, again,
creating it and then dealing with the size.
| | 05:13 | I'll give this a radius of, let's say 0.75.
| | 05:16 | So it's an inch-and-a-half-round rung.
| | 05:18 | The height I have no idea on yet,
so I'm going to leave it alone.
| | 05:21 | The important part though is I'm going
to take the subdivision axis way down.
| | 05:25 | Let's go look at the reference for a
second to see what I'm talking about.
| | 05:28 | These rungs are round, but they're fairly
small. They've also got lines on them for grip.
| | 05:33 | That way our shoes don't slip while we're climbing.
| | 05:36 | They're also flat on the top most the time,
which means really, as long as it's flat and
| | 05:40 | is close enough to round, as long as we're not
too close to it, I'll believe it is round.
| | 05:45 | I'll reinforce that by a really nice
drawing of a round shape on the sight.
| | 05:49 | So instead of a 20-sided cylinder,
I'm going to take this down to 9.
| | 05:53 | It looks like this could slim down just a
little bit, maybe 0.6 on the radius. And now
| | 05:57 | I'm ready to flatten it out.
| | 05:59 | Running at 9 lets me have just enough
segments around that when I flatten out to reduce a
| | 06:05 | couple, I'll get a round-looking rung.
| | 06:07 | If you're feeling picky,
you could even pull this back to 7.
| | 06:10 | What I'm after here really is that I've got
uneven numbers of sides all the way around
| | 06:15 | and a flat spot on top.
| | 06:17 | I'll press F9 for Vertex and take the top
two vertices, hold them down, and flatten out
| | 06:22 | the top, also scaling them out.
| | 06:25 | There is my rung element.
| | 06:27 | Now I'll delete those end faces,
| | 06:28 | again, selecting it all, holding Ctrl and
deselecting the middle, and hitting Delete.
| | 06:33 | I'll soften up the edges in the next video,
but I'm going to get this placed in first.
| | 06:37 | I'll use my Align tool, picking one of the sides,
and on my Hotbox choosing Modify > Align tool.
| | 06:43 | I'll zoom in so I can get all of my tools.
| | 06:45 | I'll snap these front to back, and I'll
also put them centered and centered.
| | 06:50 | Here's the center here, and I have no
idea how far off the floor they should be.
| | 06:55 | I think what I'll do is get
them evenly spaced on feet.
| | 06:58 | I'll take this piece and
snap it to the bottom.
| | 07:01 | Then I'll move it up and
get these arrayed out.
| | 07:04 | I'll move this up by 4 inches.
| | 07:07 | There is the starting step.
| | 07:08 | I'll press F9 for Vertex and stretch this
across, pressing V to snap, snapping onto the
| | 07:14 | inside of the other side of the ladder.
| | 07:16 | Now here's the fun part in cloning.
| | 07:18 | Really, to make this look right, I'm going
to rotate this, because they are actually
| | 07:22 | rotated, that when the latter is
straight up the flat side is not quite flat.
| | 07:27 | There at an angle so when the ladder is leaned up
against a building, you are stepping on a flat section.
| | 07:32 | I'll rotate this over by 15 degrees,
clicking and holding on the red X axis.
| | 07:37 | Now I had said I was going to deal with hard
and soft edges, and I can either deal with
| | 07:40 | them now or once I've cloned it.
| | 07:42 | In this case it might be better to actually
soften and harden the edges before cloning.
| | 07:47 | That way they all look correct.
| | 07:48 | I will press F10 for edge, select this, hold
Shift and right-click, and soften all the edges.
| | 07:54 | Now I'll pick the top two edges.
| | 07:56 | As an alternate, I can press F11 and pick
that top face, hold Shift and right-click, and
| | 08:02 | wait--where's my soften and harden?
| | 08:04 | It's not here because I'm dealing in faces.
| | 08:06 | I'll do it on my hotbox instead,
under Normals and choose Harden Edge.
| | 08:10 | By definition, that face has edges;
therefore, all four edges get hard.
| | 08:15 | I'll also press F10 for edge and
double-click on the edge loops at the end.
| | 08:19 | I'll press 4 to go into a
wireframe so I can see what I'm doing.
| | 08:23 | Now I'll harden up these, making sure the ends of the
ladder look firm when they contact the support.
| | 08:28 | If I back out enough, it looks fairly round,
with an obvious flat spot up at the top where
| | 08:33 | we're supposed to step.
| | 08:35 | What I'll do, as I know I'm going to array these
out, is finish up any hardening and softening
| | 08:39 | of edges and then get this all unwrapped.
| | 08:42 | Then I'll clone the rung so that all the
unwraps for the rung stack nicely, rather than making
| | 08:47 | one and having to
unwrapped all them after I clone.
| | Collapse this transcript |
| Unwrapping and cloning| 00:00 | In this video I'll add some feed onto
the ladder and also some caps on the top.
| | 00:04 | Then I'll unwrap this rung
and get ready to clone it.
| | 00:07 | First, I'll work over the hard
and soft edges on my sides here.
| | 00:11 | Because I've extruded in this face, I need
to make sure that they're all hard so that
| | 00:14 | way it doesn't look bubbly or soft
or odd or shimmery in a rendering.
| | 00:19 | I'll pick both sides, hold Shift and right-click,
and choose Soften/Harden Edge > Harden Edge.
| | 00:23 | I press F8 twice, and that gets
me back to the whole object.
| | 00:27 | I've already dealt with the hard and soft
edges on the rung here, and now I'm going to
| | 00:30 | add in one foot and then
unwrap it and clone it around.
| | 00:33 | I'll press 4 for wireframe, hold Shift
and right-click, and choose Poly Cube.
| | 00:37 | I'll press V for snap and snap that cube
right in there, dragging down for the height.
| | 00:42 | In the poly cube I'm going to make it
just a little bit bigger on the sides.
| | 00:46 | That way I get a little extra shadow line.
| | 00:48 | I'll make this Depth 3.250.
| | 00:50 | I'm going to leave the Width alone
here and put the Height in at 1.
| | 00:54 | I'll take this piece and snap it to the
bottom of my ladder, pressing W for Move, V and D
| | 00:59 | to move the pivot and snapping onto the corner, and
then V on the Y axis to snap up to the bottom.
| | 01:06 | You could also do this with the Align tool.
| | 01:08 | It's really whatever works fast.
| | 01:10 | Now I'm ready for an unwrap.
| | 01:12 | This box can get all stacked.
It just needs basically a gray rubber texture.
| | 01:16 | The rung then need some stripes along it, and the rest
of the ladder needs a repetitive ladder texture.
| | 01:21 | What I will do is then get my unwrap checker
I've got with those textures slots on and
| | 01:26 | see how this is going to work.
| | 01:28 | I'll pick all of my ladder objects, right-click,
and choose Assign Existing Material > blinn1.
| | 01:34 | When I press 6 for a shaded view with textures,
I can see I've got a big stretch in the texture,
| | 01:39 | the default unwrap, and something
or other going on here on the rung.
| | 01:42 | So I need to handle this.
| | 01:43 | First, I'll deal with the rung,
| | 01:45 | selecting it and choosing
Create UVs > Cylindrical Mapping.
| | 01:49 | Now you could go into the dialog and
guess which way it's supposed to be.
| | 01:52 | A lot of times what I'll do is just put the
mapping on and put 90 in the X, Y, and Z until
| | 01:57 | it flips in the right direction.
| | 01:59 | Here is 90 on the X and 90 on the Y,
and there is my cylindrical mapping.
| | 02:03 | I'll stretch this out, grabbing the
green nodes to scale that mapping out.
| | 02:07 | I'll take the horizontal sweep all the
way up, wrapping the mapping around here.
| | 02:12 | Now my squares aren't square, and that's okay.
| | 02:13 | I can deal with that.
| | 02:15 | But at least I've got the
whole thing unwrapped.
| | 02:17 | We do have a choice in here,
as where this scene goes.
| | 02:20 | I'm going to make simply striped
metal, we'll call it, or just aluminum.
| | 02:24 | So I'm not really too picky about it.
| | 02:26 | If this did need a seam in a particular place,
I can take this mapping and rotate it as needed.
| | 02:31 | I'll take the sides and recognizing that if
I've got one side done, I can probably clone
| | 02:36 | it, I'm going to delete the other.
| | 02:38 | It was handy for measuring, but
really, I just need one of each element.
| | 02:41 | I'll pick the side and hit it with an
automatic unwrap and do a little bit of stitching.
| | 02:45 | I'll choose Create UVs > Automatic Mapping.
| | 02:49 | I'll go in the Texture
Editor and see how this looks.
| | 02:51 | I'm going to use the green on the right for
my ladder, and there are all of my elements.
| | 02:55 | What I would like to do is scale these up
so that I have one section of aluminum with
| | 03:00 | one hole on it, and that way I get a nice
resolution on the texture as it tiles up the object.
| | 03:05 | I'll shade my UVs and turn off the image.
| | 03:08 | They're very tiny. That's okay.
| | 03:10 | What I'll do is press W for Move, right-click and
choose Edge, and start to stitch some things together.
| | 03:15 | The biggest one here is actually the inside.
| | 03:18 | The one that really matters for
the holes is this long section.
| | 03:22 | These are the outsides
and these are the insides.
| | 03:25 | I'm going to stitch together the inside small
section and outside, leaving the big section
| | 03:30 | in the middle alone.
| | 03:32 | I'll pick an inside edge, right-click,
and choose Polygons > Move and Sew.
| | 03:36 | Then I'll pick the next part of
that edge and hit G to repeat last.
| | 03:40 | What I've got now is one shell.
| | 03:42 | I'll zoom out so I can grab that
transform handle and move it over.
| | 03:46 | This cleanly goes from the outside across
the edge of the extrusion to the inside, at
| | 03:51 | a natural place to break a texture.
| | 03:53 | I'll repeat the process, hitting W for Move, right-
clicking and choosing Edge, and stitching these together.
| | 03:59 | I'll right-click, choose Polygons >
Move and Sew, and stitch on this side.
| | 04:05 | Now I'm ready to stack some UVs in.
| | 04:07 | I'll turn on that display again and get these
in the right place. The piece I really care
| | 04:12 | about in size is really the inside.
| | 04:15 | Take this large section and pull it over. I'll make
sure I've got the right one selected. There it is.
| | 04:21 | That's the inside that really matters.
| | 04:23 | What I'm going to do with this is to scale
it out, making sure I'm scaling uniformly,
| | 04:28 | and I'm going to scale it, well, enormously big.
| | 04:31 | I'm going to make it go almost all the way
across, figuring if I have a section of aluminum
| | 04:36 | here, I can stack everything else in it, but
as long as I get the aluminum with the hole
| | 04:40 | here, it will look pretty good.
| | 04:41 | I will pull this over and plan to put the
hole for the rung probably around B and B.
| | 04:47 | I can later pull this up and down to match
them with the rungs once I've got it closed.
| | 04:51 | And I'll take these elements
and pull them into place.
| | 04:55 | I'm going to grab these and stack them over.
| | 04:57 | Once they're all stacked, I'll pick all of the
pieces, press R for Scale, and scale them out.
| | 05:02 | Now I just made an error here.
I accidentally grabbed the X axis.
| | 05:05 | I want to be careful of that and make sure
when I'm scaling that I'm grabbing in the
| | 05:09 | middle, which highlights here in yellow.
| | 05:11 | I'll scale these up and move them over.
| | 05:14 | I'll pull it into place, avoiding where the
hole is. My ladder is ready, and now I'm going
| | 05:19 | to take this element and make sure it's in the
right place in the texture before I clone it.
| | 05:23 | Under Edit UVs here in my
Texture Editor, there is that side.
| | 05:26 | What I will do is take this
shell and scale it down first.
| | 05:30 | I need to pull it in so my
squares go back to square.
| | 05:33 | I'll look in the viewport and see
if I'm in the right direction.
| | 05:36 | This is a pretty small piece,
| | 05:38 | so it really it just needs to have
stuff on it that's the right color.
| | 05:42 | I'll scale it in and put it over there,
because I know that the hole will be here so this
| | 05:47 | will be just a large section of aluminum.
| | 05:49 | Here is my end block,
and there is all its parts.
| | 05:52 | I don't mind if it's square like that, although
I could take this and do an automatic unwrap
| | 05:57 | and stack the poly.
| | 05:58 | I could also take it and reassemble it.
| | 06:00 | It's going to be so small it's
just going to get a color basically.
| | 06:04 | I'll do some automatic mapping,
and there are all those pieces.
| | 06:07 | I'll right-click and
choose Edge and W for Move.
| | 06:10 | I'll pick some edges and go
in and sew them together.
| | 06:13 | I'll turn off the image so we can see what
I'm doing and choose Polygons > Move and Sew.
| | 06:18 | I will work my way along here,
moving and sewing in all the edges.
| | 06:25 | There is my object.
| | 06:26 | I could break it up a bit if
needed or sew it differently.
| | 06:29 | I'm going to swing just this
side here and be done with it.
| | 06:32 | If you notice, I had to click Edge twice.
| | 06:35 | Sometimes Maya can be a little finicky about
what order you choose to move, not move shell,
| | 06:39 | and then pick Edge.
| | 06:41 | Now I'll sew these together,
choosing Polygons > Move and Sew.
| | 06:44 | This is good enough. I'll turn on that image
and grab this shell and scale it down.
| | 06:49 | What I think I'll do is make it nice and small,
and I'm going to land it somewhere over here
| | 06:54 | in the black rusty iron.
I will see if that works.
| | 06:58 | I can always pull it around if needed and
once I clone it, those shells will stack.
| | 07:02 | Now I'll clone out this ladder.
| | 07:04 | First I'll take this piece, the long side, and
rotate it around, pressing Ctrl+D to duplicate
| | 07:10 | and rotating on the Y axis by 180 degrees.
| | 07:13 | Then I'll move it over and snap it in place.
| | 07:16 | I'll move the pivot by pressing V and D and
snapping it down onto a corner, and then holding
| | 07:20 | V and snapping onto the edge of the rung.
| | 07:23 | This needs to center,
| | 07:24 | so I'll press Ctrl+D, pick the
other side, and use my Align tool.
| | 07:29 | My Align tool gets very tiny, but there is
the center, and now it's in the right place.
| | 07:34 | I'll clone these end
blocks up to the top as well.
| | 07:36 | We can make some allowances here.
| | 07:38 | As long as it's got stuff there, we're not
too picky as long as it's fairly small, as
| | 07:42 | long as we see some things in the right place.
| | 07:45 | I'll duplicate these, pressing Ctrl+D,
and pick one of the tall side elements.
| | 07:50 | I'll use my Align tool, put it up to
the top, and snap them top to bottom.
| | 07:55 | Finally, I'm going to clone that rung.
| | 07:57 | I'll select it, press Ctrl+D, and over here
in the relative transform, I'm going to move
| | 08:02 | this up by, let's say 16.
| | 08:05 | Now I can clone this.
| | 08:06 | I'll press Shift+D, which is duplicate with
the transform, duplicating the object and
| | 08:10 | repeating the last transform. And there is the
rungs of my ladder all unwrapped and stacked.
| | 08:16 | I'll take one last look at these in the
Texture Editor and see what I've got.
| | 08:19 | Just as I expected: everything is stacked up,
because I've cloned the UVs as I cloned the objects.
| | 08:25 | We can tell we've got stacked UVs
because this blue is getting very dense.
| | 08:29 | Over here I've got both sides stacked, and
these are the long elements plus all of those
| | 08:34 | rungs--well, for however many it is.
| | 08:36 | I'm ready to get the texture constructed and
eventually to combine these and get them in
| | 08:40 | game, but first I need to get some actual
texture on this so I can really see if it's working.
| | Collapse this transcript |
| Placing the clean texture| 00:00 | In this video I'll look at getting the
start of the clean texture on my object.
| | 00:04 | I've got my sledgehammer, pry bar, and
ladder modeled, and they are unwrapped.
| | 00:08 | I've started out using
quadrants in the texture sheet.
| | 00:11 | In this way, I hope to have repeating textures,
piling pieces that I can simply stack more
| | 00:16 | and more UVs over to make them look
like the commonplace objects they are.
| | 00:20 | I'll go over to Photoshop and
start getting in a raw texture.
| | 00:23 | I've opened up the latest version
of my checkers with their overly.
| | 00:26 | I'm going to use the green on the right for the
ladder, and what I need here is one 16-inch section,
| | 00:32 | because that's how I cloned those rungs,
every 16 inches. So as long as I can get this to
| | 00:36 | be 16 inches tall in the mapping and have one
space in here for a hole, I'll be in good shape.
| | 00:42 | What I'll start out with is pressing W for Wand and
on my overlay layer, magic wanding that green.
| | 00:49 | When I tend to do with my wand, unless I need
otherwise, is to leave Contiguous on an Anti-alias off.
| | 00:55 | I'd just drawn these in in a previous video
as precise rectangles using the Marquee.
| | 01:00 | So I don't want digital fuzz in
the edge caused by anti-aliasing.
| | 01:03 | I've got a low Tolerance and so I'm
only selecting the screen as well.
| | 01:07 | Now turn I'll turn this off
temporarily and make a new layer.
| | 01:11 | First I'll add in a gray for my ladder.
I'll go over to one of my Ladder reference images
| | 01:15 | and make sure I don't
pick one that's too shiny.
| | 01:18 | This looks pretty good, and I'll eyedropper
the gray on the side, scrolling around until
| | 01:22 | I find a pretty workable gray.
| | 01:24 | Here is a nice light one. I'll try and see
if it works, maybe lightening up just a bit.
| | 01:29 | I'll take that color, bring up its
brightness just a touch, and fill in that marquee on
| | 01:34 | this new layer, hitting G for the paint
bucket. That's the start of my aluminum.
| | 01:38 | Now I'm going to put some stripes in.
The aluminum, because it's extruded has striations
| | 01:43 | along it. The rungs also have definite stripes,
but really, as long as they are striped somewhat,
| | 01:49 | we won't be able to tell, because we
simply can't get that resolution in the game.
| | 01:53 | I'll hold Ctrl and click on
this layer to select it.
| | 01:55 | I had deselected by pressing Ctrl+D,
which is somewhat of a habit of mine.
| | 01:59 | I do that to make sure I'm not
working in a selection inadvertently.
| | 02:03 | Now I'll make a new layer and
fill that with the same gray.
| | 02:06 | I'll choose Filter > Texture > Grain.
| | 02:09 | In my grain layer, I'll start out with a grain
that's got a low Intensity and low Contrast,
| | 02:14 | making the Grain Type Vertical.
| | 02:16 | Then I'll click OK and
there is vertical grain.
| | 02:19 | I'll set this layer over maybe as a Soft Light.
Maybe also I'll try it as a Multiply and see
| | 02:24 | what I get, which looks a little too dark.
| | 02:27 | I can try it as an Add, but
that might blow out too quickly.
| | 02:30 | So I think I'll go with the Soft Light I had. We can
do that over Screen. Naw, that's again, too bright.
| | 02:35 | As we can see, it's okay to experiment with
your blending modes to find the right one.
| | 02:39 | Now, I'll choose Filter > Blur > Motion Blur,
and I'll set my Motion Blur to an angle of
| | 02:45 | 90 and a distance that's, well, fairly big.
| | 02:48 | What this does is blur out the grain.
| | 02:51 | As we can see as I'm panning, there's the
original and there's the motion blur preview.
| | 02:56 | It gives me gentle stripes
without too much pixilation.
| | 02:58 | I'll merge this down by pressing Ctrl+E.
| | 03:01 | Now I'm ready for the hole, which I had said
was going to show up right here at A, C, B,
| | 03:05 | and B in green. I'll zoom
in and use my marquee.
| | 03:10 | I'll press M for Marquee, click and hold on that
marquee and fly it out, and choose Elliptical.
| | 03:15 | I'll Click+Drag, holding
Shift to make a circle.
| | 03:18 | Now I'll switch back to
my Rectangular Marquee.
| | 03:21 | If you notice, you may have your marquee set
to a fixed size from a previous video.
| | 03:26 | That's okay. Remember that
marquees hold onto their styles,
| | 03:29 | so even though the Elliptical Marquee was
Normal, yours may say Fixed Size. Drop down
| | 03:34 | here under Style and pick Normal.
| | 03:36 | Now what I'll do is hold Alt and deselect
the top, flattening out the top of it to
| | 03:41 | give it that rounded D shape we'll call it.
| | 03:44 | I'll make a new layer and I'm going to fill
this in black. I've got black in my background.
| | 03:49 | Alternately, I can hit D for
Default and there is black.
| | 03:52 | G for paint bucket and fill it in.
| | 03:54 | I'll deselect and I'm going to rotate this as well by
15 degrees. I'll choose Edit > Transform > Rotate.
| | 04:03 | Up here in the rotation on the top,
I can put an angle if I need.
| | 04:06 | I'm going to put in 15, and I'll
hit Enter and see how this looks.
| | 04:11 | This should work for the rung.
I can always flip it around if needed,
| | 04:14 | but I'll take it out and
try in Maya and see first.
| | 04:17 | I need to get the placement right before I start
detailing out things like bumps and otherwise.
| | 04:22 | I'll save this working PSD, pressing
Ctrl+Shift+S and saving it as 03_08_end.
| | 04:27 | I haven't set up a PSD network in this
particular document, so I'm just going to save out a
| | 04:31 | flattened TIFF of the actual texture.
| | 04:33 | I'll save as a copy, or choose Save As, and
save it as a TIFF, un-checking layers and
| | 04:39 | making sure As a Copy is checked.
| | 04:41 | I'll hit Save and go over to
Maya and see how this looks.
| | 04:45 | Here in Maya I'm going to pick any one
of my objects and go into that material.
| | 04:49 | I'll go into the Color
texture and swap out that TIFF.
| | 04:53 | Right now, well, everything is made
of galvanized steel, which is fine.
| | 04:56 | Thankfully, all the ladder pieces at least are
gray, as I did unwrap them with the ladder.
| | 05:01 | What I need to do is to slide these
colors up and down and see if they actually work.
| | 05:05 | I'll pick both sides and under Edit UVs,
choose my Texture Editor. These two long shells,
| | 05:11 | which I can select of my
Move Shell tool, are the sides.
| | 05:14 | I'll pull them up and down and see if they
are in the right place, and what it looks
| | 05:17 | like is they need to scale out a bit.
| | 05:19 | I could try scaling them, but this could get
messy, taking these elements and scaling them
| | 05:23 | up and down to try and find a fit.
| | 05:25 | Here's another way to handle this.
| | 05:26 | If this doesn't work, unwrapping it and trying
to scale it. I'll press Ctrl+F11, converting
| | 05:32 | this selection to faces.
And I'll hit these with a planar mapping,
| | 05:36 | choosing Create UVs > Planar Mapping.
| | 05:39 | Now how big should that
planar mapping be, you might ask.
| | 05:41 | Well, I'm going to put the Projection Width
and Height at 16 X 16, and it's sort of working,
| | 05:48 | but I'm not sure quite what's going on here.
| | 05:50 | Here's what's happening.
| | 05:52 | Every object in Maya has a unique name, including
things that we do to objects, like planar projections.
| | 05:57 | What we are seeing here in the unwrap is
that one of my faces is unwrapping correctly.
| | 06:03 | It's this huge, long red one.
| | 06:05 | The other one got hit with the planar unwrap, but
because it's a different polyPlanarProjection,
| | 06:10 | I'm getting a square here.
| | 06:11 | I'll go back to Object mode and figure out
which one it is. And there it is; it's this side.
| | 06:16 | I'll scroll over on the Attribute Editor, and
there is polyPlanarProjection2, which is giving
| | 06:22 | me that size in here.
| | 06:24 | What I need to do is probably get one
looking right and maybe re-clone it.
| | 06:28 | I'll pick this side, spin it around,
| | 06:30 | and now I'm going to take this
shell and put it in the right place.
| | 06:33 | Yes, it is backwards, and
I can take care of that.
| | 06:36 | But more importantly, at that mapping
size, I can get these lined up nicely.
| | 06:40 | I'll zoom in and make sure it fits.
| | 06:43 | It also looks like I need
to flip those holes around,
| | 06:46 | but I can get them lined in, and I'll choose
Shading and X-Ray, so I can see what I'm doing.
| | 06:51 | I'll go into a front or side View
and make sure I can see this well.
| | 06:55 | In this view it's a little difficult.
| | 06:56 | I should either hide some
objects or delete pieces.
| | 06:59 | So I'll try it again in the perspective.
| | 07:02 | The lesson here is really to move around.
| | 07:04 | It's okay to move around and
get it where you can see it.
| | 07:07 | It looks like if I flip that around,
they are pretty well placed--close enough that
| | 07:11 | we're not going to question it.
| | 07:13 | Now I am going to flip is poly,
choosing Polygons and Flip.
| | 07:17 | It looks like when they flip the hole is
in the right direction, so I don't need to
| | 07:20 | turn in Photoshop. I got lucky in my guess
in the rotation, and it's okay to try and
| | 07:25 | experiment with it.
| | 07:26 | Now with this in the right place, I'm going to take
this element and clone it over to the other side.
| | 07:32 | I'll select and delete the first one, turn off my
X-Ray Shading, pick this one, and duplicate it.
| | 07:37 | I'm going to press Ctrl+D and in this case
mirror it over by scaling on -1 on the X.
| | 07:44 | I'll put a -1 up here and now it is mirrored.
I'll press W for Move, pull it over, and snap
| | 07:51 | it on to those rungs. I'll press V and D
| | 07:53 | and make sure the pivots are on the
corner and snap it in the right place.
| | 07:57 | Now I've got the start of my ladder, and
I've got the texture in place to look like the
| | 08:01 | rungs come through and are fastened.
| | 08:04 | What we want to do then is get a clean
texture place, looking for the important parts.
| | 08:08 | Are there things that correspond to geometry in
the texture that need to be placed exactly,
| | 08:13 | and this is a good indication of it.
| | 08:15 | In the other pieces I've got here in my tools,
they really just have texture on them.
| | 08:19 | The pry bar is generally black and rusty all over.
| | 08:23 | The hammer handle is made of wood, and
the head here is made of rusty steel.
| | 08:28 | We don't need the geometry to correspond
to a particular place in the texture,
| | 08:33 | so I'm going to pay attention to things like
the ladder first and get those lined up before
| | 08:36 | I get in and start making detail in the texture.
| | Collapse this transcript |
| Laying out a texture sheet for multiple tools| 00:00 | In this video, I'll get more of the clean
texture on my tools and start to see if the
| | 00:05 | wear patterns I am going to
put on are the right size.
| | 00:08 | I am constructing a texture sheet, and the
idea is I have got large chunks of raw texture
| | 00:12 | that I simply map a bunch of things onto.
| | 00:14 | Although I've only got a hammer, a pry bar,
and a ladder here, by extension we could have
| | 00:19 | several pry bars, maybe different hammers,
different ladders, other things made of galvanized
| | 00:23 | steel or aluminum, and stack a whole bunch
of props we might find in our game in here.
| | 00:28 | What I will do is start out with some solid
colors and then add in some basic texture
| | 00:33 | for the other elements and see if they work.
| | 00:35 | I am going to begin with my hammer, which I've
laid out in two pieces: the handle, which actually
| | 00:40 | goes right through the head geometry so I can
get wood on the end, and then the head itself.
| | 00:44 | I will go and look at my UV Texture Editor,
opening it up so I can see what I'm doing
| | 00:48 | and zooming back.
| | 00:49 | I have put the sides of the head all here
stacked, figuring that this quadrant is going
| | 00:54 | to be a large section of rusty steel.
| | 00:57 | Down here, I have got the faces and my
suspicion is that I'm going to need a separate small
| | 01:01 | section here of shinier steel.
| | 01:03 | I may end up taking the ends of the
pry bar and putting them there as well.
| | 01:08 | Part of laying out a texture sheet, once you
have got the basic areas defined, is getting
| | 01:11 | some color in and seeing
if it's going to work.
| | 01:14 | I will go over to Photoshop and put
some color on and see how this looks.
| | 01:18 | Before I do that though, as a marker, I'm
going to look at where these faces are, back in
| | 01:23 | my Texture Editor here.
| | 01:25 | This is why I use this grid.
| | 01:27 | It looks like over here in yellow, or the second
quadrant, B through D probably needs a shiny texture.
| | 01:34 | I can remember that and go over to Photoshop.
| | 01:36 | Here in Photoshop, I have got my latest PSD open,
and I've got my ladder texture with the hole laid out.
| | 01:42 | I am going to take these pieces and group them,
selecting both ladder layers and pressing
| | 01:46 | Ctrl+G. I'll rename this
layer set Ladder Diffuse.
| | 01:50 | Eventually, this will get flattened, but it's a
good idea to stay organized while you are working.
| | 01:56 | Now I am going to get the hammer in.
| | 01:57 | On my Overlay layer, with it selected, I can
magic wand where I think that pink color is.
| | 02:02 | I don't even have to have the layer on, as
Photoshop will respect what's going on in that layer.
| | 02:07 | Now I will press M for my Marquee and deselect
those squares down here where I am going to
| | 02:12 | have the shiny steel.
| | 02:13 | I will go back and look at some hammer reference and
see what it looks like and what the general color is.
| | 02:19 | I'll open up, out of the Reference Directory
included with this project, a few hammers.
| | 02:24 | I've named my reference, and we can do this in
things like Adobe Bridge or even in Windows Explorer.
| | 02:29 | We may also, as we are assembling reference,
want to add in tags--rusty hammer, clean hammer
| | 02:34 | and so forth--so as we are
searching for images, we can find them.
| | 02:37 | I will pull open a couple of
sledgehammers and the pry bar with the hammer as well.
| | 02:42 | It looks like I need a generally rusty texture
with some shine, and it needs to be fairly speckly.
| | 02:47 | This one is even more covered in what looks
like maybe paint or putty and has more rust on it.
| | 02:53 | Here's the pry bar. It's a little cleaner.
| | 02:55 | I'll take this one as my inspiration,
| | 02:57 | eyedroppering the color. It's interesting what
we perceive as dark metal when you eyedropper
| | 03:01 | different places is
yielding all kinds of things.
| | 03:04 | Right now a lot of this
color is actually a soft brown.
| | 03:07 | So I will adjust it.
| | 03:08 | There is a deeper brown and finally, here's
a deeper color. That's a little better.
| | 03:13 | I'll use my paint bucket
and make a new layer here.
| | 03:16 | I'll fill this in, and there is where
the brown of my hammerhead will be.
| | 03:20 | I am going to pull a little bit of color out,
taking some of the brown out and leaving it
| | 03:24 | more of a gunmetal gray, we will call it.
| | 03:26 | I'll rename this hammer base.
| | 03:29 | And now I am going to add in
the section of shiny metal.
| | 03:31 | What I will do then is magic wand on my
overlay layer that purple again, then hold Ctrl and
| | 03:39 | Alt and use the layer thumbnails here by
clicking on the hammer base thumbnail to deselect that
| | 03:44 | layer, leaving me a clean marquee.
| | 03:47 | Now here I'm going to put
in a very light-gray color.
| | 03:50 | I can actually borrow from
my ladder and fill that it.
| | 03:53 | Again, it's going to be on a new layer.
| | 03:55 | We will call this one hammer face.
| | 03:57 | I will deselect and put
in a couple other things.
| | 04:00 | I'll magic wand the orange on my overlay
layer and put a wood color in, just choosing, we
| | 04:06 | will call it a medium blonde here with some warmth to it,
desaturating just a little bit and filling that in.
| | 04:12 | I need a new layer to do this on.
| | 04:14 | There's a running theme here,
in case you haven't noticed.
| | 04:17 | When in doubt, make a layer.
| | 04:19 | If you have something else you
are going to do, make a layer.
| | 04:22 | If you think about making another
layer, make another layer just in case.
| | 04:26 | Now, you may laugh at me and say "he's layer crazy, he
is making layers all over the place," and that's okay.
| | 04:32 | But my workflow is organized and I can go in
and change things and find things easily.
| | 04:36 | I will put in one more section.
The last piece here is the rusty steel.
| | 04:40 | I will go to my overlay, magic wand that section,
and on layer 3--actually, it needs to be wrought
| | 04:46 | iron, doesn't it?
| | 04:46 | I'll call this Wrought iron, and I will fill
this with a near black, eyedroppering my hammer
| | 04:52 | and taking the brightness down.
| | 04:55 | I will deselect and I'll see if this works.
| | 04:58 | I'm going to save out my working PSD as
03_09_end and then save out a flattened TIFF as a copy.
| | 05:03 | I have unchecked layers and I will hit Save.
| | 05:05 | I will go over to Maya and see if this worked.
| | 05:08 | Here in Maya, I'll pick any
object, in this case my hammerhead.
| | 05:11 | I will scroll over, and in that material I'll
swap out that texture for the latest version.
| | 05:17 | I will go into 03_09, and there is
that TIFF. And it looks pretty good.
| | 05:21 | I have got my black wrought iron pry bar,
my hammerhead with the shiny face, at least
| | 05:27 | a color in where the woodgrain is
supposed to go, and there is my ladder.
| | 05:30 | Because I'd used the wrought iron on the bases
of the ladder as well, I've got well, near black
| | 05:35 | down there, which looks pretty reasonable.
| | 05:37 | There's one small change I would like to make.
| | 05:39 | I would like to take the ends of the pry bar
and split off their UVs, taking these small
| | 05:43 | ends and the faces down here and
putting them in the shiny section.
| | 05:47 | I'll select my pry bar and go
over to the UV Texture Editor.
| | 05:50 | What I will do is press F11 for Face.
| | 05:53 | I will select those faces and right-
click, choosing Polygons > Cut UV Edges.
| | 06:00 | Now I will convert that selection, or go
in and grab those shells and move them.
| | 06:04 | I'll pick them and now I can
see that they are unique shells.
| | 06:07 | I will grab these as well and
any others that are associated.
| | 06:11 | I'll pull these down. My thought then
is I am going to rotate these over.
| | 06:15 | I will leave these three
alone, as these are the inside.
| | 06:19 | What I would like to do through is take
these shells, probably merge them back together,
| | 06:23 | and put them half in and half out.
| | 06:25 | I will right-click and
choose Polygons > Merge UVs.
| | 06:29 | In case I split these apart as part of that
cutting process, now it's one shell again.
| | 06:34 | I'll rotate it 90 degrees and use the Move
Shell tool to pull them over, and there is
| | 06:39 | the sharp end of my pry bar.
| | 06:42 | I can do the same thing
with these small faces.
| | 06:44 | I'll pick them, and it looks
like this one is on that side.
| | 06:47 | I will rotate it and pull it
into place, lining that up.
| | 06:52 | It's little details that really matter,
and getting this right counts for a lot.
| | 06:56 | I will get that nice and close,
and there is the other one.
| | 06:59 | I'll rotate it over and pull it in.
| | 07:02 | This way it looks like my pry
bar is sharp and shiny on one end.
| | 07:06 | I can grab the triangular
faces here and do the same thing.
| | 07:09 | Finally, I will grab these pieces.
| | 07:11 | This is the other side, rotating it flat.
| | 07:14 | I can always press E for Rotate and put it
in the right place and then move it over.
| | 07:18 | I'll go find those other
pieces and stack them in.
| | 07:21 | And I should start to get a shiny
end on the pry bar fairly easily.
| | 07:24 | I still need to break off these faces and pull
them down, but that's fairly quick to do.
| | 07:30 | What I'm looking at here is that while I have
got a base color in, before I have got a ton
| | 07:34 | of detail, I can make some changes.
| | 07:37 | And I can go in and really tune some
things up to get the best look possible
| | 07:41 | so when I paint the texture on, we look and say "of
course it's a pry bar" with shiny edges and so forth.
| | 07:46 | Let's see if this really worked.
| | 07:48 | I will press F8 for object
and take a look around.
| | 07:51 | My pry bar is definitely shiny on that one
end, and it looks like I need to fix the other
| | 07:55 | side, splitting off those
UVs and stacking them on.
| | 07:58 | I also need to fix the other end, but the
idea is there. It's just the process of taking
| | 08:03 | these and extracting them or splitting those
UVs and pulling them into the right area.
| | 08:09 | The details matter, especially in tools where
there is a good chance we are going to pick
| | 08:12 | up and see them close to the camera in the game,
that we expect the ends of the pry bar to be shiny,
| | 08:18 | so we should pull it into
the shiny section we've got.
| | 08:20 | I also had to make a slight alteration to my texture
sheet as part of this process, and it's fine to do.
| | 08:26 | The important thing is to recognize that we
can and should make changes to get the best
| | 08:30 | possible result, and make sure that the
things that are obviously there are obviously right.
| | 08:37 |
| | Collapse this transcript |
| Painting rusty steel| 00:00 | In this video, I'll look at starting
to add some rust and wear to my tools.
| | 00:04 | What I've done here is to take those elements
of the pry bar that need to be shiny on the
| | 00:09 | end, selected their faces, and split their
UVs off. Then I have moved them over. And we
| | 00:14 | can see here in the UV Texture Editor
that they're actually lapping over.
| | 00:18 | What this gives me is
shiny ends on a dark pry bar.
| | 00:23 | I can always pull these back and forth if
I need, maybe making some rusty and maybe
| | 00:27 | leaving one end shiny.
| | 00:29 | I've taken the wedge faces here
and put them all on the shiny side.
| | 00:32 | This way it's shiny where we expect it to be.
| | 00:35 | I'll go over to Photoshop and look at some
techniques for painting things like rust and wear.
| | 00:40 | I've got the latest version of my PSD up, and
I'm going to look at my reference and see
| | 00:44 | what I need to do to get
rust from my wrought iron.
| | 00:47 | This sledgehammer is probably not a great
indication, as it's covered in paint and other things.
| | 00:52 | This pry bar is a little better,
although it's still fairly clean.
| | 00:55 | I'm going to look at some of my other pry
bar imagery and see if it gives me any better
| | 00:59 | clue as how to paint.
| | 01:01 | This sledgehammer is actually not bad
reference, as we can get a good idea of the generally
| | 01:05 | blotchy texture of rust.
| | 01:07 | Here in my Reference Images, pressing
Ctrl+O to open, I've got my various pry bars.
| | 01:11 | I'll grab the three I don't have
open and see what they look like.
| | 01:15 | This is a little better indication.
| | 01:17 | It's started out nice and clean and black,
but now is well, rusty, but there's not a
| | 01:22 | discernible pattern, and that's
an important piece to recognize.
| | 01:25 | Here's another indication.
| | 01:26 | It's a little rusty on the edges, but I bet
I can get away with generally cloudy rust.
| | 01:31 | Finally, here's a clean version, so
that's what I need to start with.
| | 01:35 | I'll eyedropper that color and
see what it comes out to be.
| | 01:38 | Over here in the shine, it's actually quite
bright, but really, down here in the dark area
| | 01:42 | is what I need to start with.
| | 01:44 | As a note, it's not quite black.
| | 01:46 | I really tend to reserve white
and black for very special places.
| | 01:51 | Everything is actually quite muddy in the world,
so having this a color 4% brightness is pretty good.
| | 01:57 | Here in my PSD, I've got
my Wrought iron section.
| | 01:59 | What I need to do is to make a large chunk of
rusty steel and then put it in the right place.
| | 02:04 | I'm going to start with a larger image.
| | 02:06 | I'll press Ctrl+N to make a new document.
| | 02:09 | A lot of times when I am working
I'll have extra imagery open.
| | 02:13 | This is really just a scratch document I'm
going to take some stuff from and then close.
| | 02:17 | I don't need to save it because
it's just raw working pieces.
| | 02:20 | I'm going to make this 3,000 square.
| | 02:23 | I'll fill this document with a
couple of colors and some clouds.
| | 02:27 | I can remember that this black is 4%, with just a
little bit of luminance in otherwise pure gray.
| | 02:33 | I'm going to set my foreground color in here
to something fairly light, maybe a medium
| | 02:38 | gray, and set the background as
something a little bit darker.
| | 02:42 | The reason to run such a big
document is I want to make some clouds.
| | 02:45 | I'll choose Filter > Render > Clouds.
| | 02:49 | Rendered clouds don't have any parameters.
| | 02:51 | They simply generate clouds based
on foreground and background color.
| | 02:55 | By making a large document, I get more clouds.
| | 02:58 | Here is the example, to see
if this really holds up.
| | 03:00 | I'll press Ctrl+N and make a new document.
| | 03:02 | I'll make this new document 1,000 square.
| | 03:05 | When I run some clouds on it, choosing
Filter > Clouds, I get fewer clouds.
| | 03:10 | Clouds exist always at the same size, so by
making a larger document, I get more clouds,
| | 03:15 | and then I can shrink it down.
| | 03:17 | I'll take these clouds and look to erode them.
| | 03:20 | What I'll do is press W for Wand, turn
on Anti-alias, and turn off Contiguous.
| | 03:26 | I'll bring up the Tolerance to maybe, let's
try 15, and I'll magic wand some pieces.
| | 03:31 | I'll delete these out, opening up the clouds,
and it looks like maybe a little too much.
| | 03:36 | I'll undo and take that Tolerance back down.
Let's try it at seven this time, pressing
| | 03:41 | Ctrl+D to deselect and magic
wanding a dark-gray cloud.
| | 03:46 | When I delete I get holes.
This is what I'm after.
| | 03:49 | I'll run this one more time,
taking the Tolerance down again.
| | 03:52 | There is a scratchy, dented, generally
dirty pattern, and it's working nicely.
| | 03:57 | The trick then to see is if I've got enough
variation across here. What I'll do is reduce
| | 04:02 | this down in size.
| | 04:03 | I'll press Ctrl+Alt+I and go to the Image
Size dialog. I'll put this down to 1024, and
| | 04:09 | now I've got a hole pattern, we'll call it.
I'll press M for Marquee, make sure I click
| | 04:14 | anywhere, and then press Ctrl+A to Select All,
Ctrl+C to copy, and I can close this document.
| | 04:21 | It was just a working piece
so I didn't need to save it.
| | 04:24 | I'll paste this in, and now I've
got holes and pieces and things.
| | 04:28 | What I'm going to do is shrink
this down and clone it around a bit.
| | 04:32 | I'll press Ctrl+T to transform
and pull this down even more.
| | 04:36 | I'll hit Enter to accept it, and now I'm
going to move this on top of that wrought iron,
| | 04:40 | making sure I can see it. It's working nicely.
| | 04:43 | I'm going to colorize this, pressing Ctrl+U.
| | 04:46 | I'll check Colorize and swing this over into a
good rusty color, saturating it and bringing
| | 04:51 | down the Lightness.
| | 04:53 | There's some warmth in the rust
and I'll pull down the Opacity.
| | 04:56 | This way it's an overlay on here.
| | 04:58 | I'm going to take this piece and clone it,
moving it, cloning it, and overlapping it.
| | 05:04 | Then I'll come back with the eraser, pressing E to
erase, and right-clicking and choosing a Soft Brush.
| | 05:09 | I'll start erasing out parts of different
layers so I get rid of the hard lines in here.
| | 05:14 | Notice that my Opacity is a little bit low,
| | 05:16 | so I'll pull that back up and smooth it out.
| | 05:19 | I'll pick my other layers and start to pull
out different pieces, evening out some of
| | 05:23 | those hard lines.
| | 05:24 | It's working nicely.
| | 05:25 | Now I can combine these pieces, and I'm going
to select that Wrought iron layer and delete
| | 05:31 | the rust that is not within that.
| | 05:33 | I'll hold Ctrl and click on Wrought iron,
press Ctrl+Shift+I to invert the selection,
| | 05:38 | make sure layer 3 on my rust
is active, and hit Delete.
| | 05:41 | I'll deselect and I'm going to experiment
briefly, trying this as a Multiply. Good,
| | 05:47 | but a little bit dark.
| | 05:48 | I could lighten this up or lighten
up the Wrought iron layer a bit.
| | 05:52 | As an alternate, I can try this over as a
screen and see what I get, backing off the
| | 05:56 | Opacity just a bit and maybe darkening.
| | 05:59 | I'll try that, going back into the Hue/Saturation,
saturating it to bring up that rust, darkening
| | 06:05 | it, and seeing how it looks.
| | 06:07 | This looks pretty good.
| | 06:08 | What I'll do is go save this and
try it out and see if it works.
| | 06:12 | I'll rename this layer to Rust.
| | 06:14 | If you notice here, if you double-click on a
layer, it pulls up the Layer Style if you
| | 06:17 | miss the name. I'll make sure I
double-click on the name and call this Rust.
| | 06:22 | I'll grab it and pull it down on top
of the wrought iron and save his PSD.
| | 06:26 | Then I'll save out the working TIFF.
| | 06:28 | I've named it 03_10_end, and now I'm going
to save out a TIFF, pressing Ctrl+Shift+S
| | 06:33 | and saving it out. I'll uncheck
Layers and see how this looks.
| | 06:41 | Back here in Maya, I'll go into that material
and swap out the latest version of the TIFF.
| | 06:46 | There is my rusty dented pry bar.
| | 06:49 | It's got a good pattern on it,
although I may need more clouds.
| | 06:52 | Sometime what I'll end up doing is
experimenting and saying, did I get enough in here?
| | 06:57 | My thought is I actually need more clouds
to begin with so that pattern is finer.
| | 07:01 | I need a bigger document to start with, but the
overall idea of the rusty pry bar is working
| | 07:07 | very nicely, and when I zoom out, it definitely
looks like that kind of rusty tool I expect.
| | 07:12 | We can go a long way with making a large chunk
of a texture, such as rust, and putting it onto
| | 07:17 | our texture sheet, thinking of a large section
of raw texture that we then apply. It's also
| | 07:23 | good to experiment.
| | 07:24 | I tried this, and it looks reasonable, but
I need a little more rust in there, and it
| | 07:29 | needs to be a smaller density.
| | 07:31 | The holes are a little
too big and too obvious.
| | 07:34 | It's fairly easy to make a new one and
rescale it, getting more rust in there so I get a
| | 07:39 | finer grain. That way my old, dented, scratched,
rusty pry bar looks well, old, dented, scratched, and rusty.
| | Collapse this transcript |
| Adding dirt and wear| 00:00 | In this video I'll look at adding
some dirt and wear to my texture sheet.
| | 00:04 | What I've done here is revised the rust
and added the hammer rust on as well.
| | 00:08 | I started out with a new document for making
the rust on the wrought iron, trying at it
| | 00:12 | 6,000 square instead of 3,000.
| | 00:14 | I've repeated the process on the hammer, trying
a giant document and taking out little bits
| | 00:20 | with the magic wand to give me
that speckled rust texture.
| | 00:23 | I've laid this over as a Multiply, and we can
see here in this layer 3, it's actually very,
| | 00:28 | very bright orange.
| | 00:30 | But when it multiplies over, I get
a speckled rusty hammered finish.
| | 00:34 | I'll rename this and call it Hammer rust.
| | 00:37 | Now I'm ready to work on some dirt and wear.
| | 00:39 | I still need to get a woodgrain going in here,
but I need to get some uneven dirt going.
| | 00:44 | If I put this on, it's going to look too clean.
Yes it's rusty, but especially on the hammer
| | 00:49 | handle and on the ladder here.
I need to paint in some dirt.
| | 00:52 | What I'll do is go back and refresh myself,
looking at the UVs and seeing where they are
| | 00:57 | stacked here for the ladder.
| | 00:59 | With the ladder selected I'll go
and look at the Texture Editor.
| | 01:02 | The big face is off to the side, so it's really on
the left side that I could add in some dirt.
| | 01:07 | Alternately, I've got some places for a
texture break, as the ladder has different sides of
| | 01:12 | this extruded section.
| | 01:13 | So really I could add in some dirt, and it's
okay if there's a slight mismatch because
| | 01:18 | this face here will get
differently dirty than that one.
| | 01:21 | I'll paint some in and see how it looks.
| | 01:24 | I'll start out a new layer and
I'll name this one Ladder dirt.
| | 01:28 | I probably need to go through and do
some grouping in here of my other layers.
| | 01:31 | I'll drag Ladder dirt into the Ladder Diffuse.
| | 01:34 | Then I'll pick my hammer layers
and group them, pressing Ctrl+G.
| | 01:38 | I'll rename this group Hammer.
| | 01:40 | Finally, I'll pick the Wrought
iron of the Rust and group them.
| | 01:45 | I'll name this one Prybar.
| | 01:46 | I'll drag the Wood into
the Hammer and I'm all set.
| | 01:49 | You can see here again--and I can't stress
this one enough--how much an organized workflow
| | 01:54 | helps, because making
changes becomes very easy.
| | 01:57 | Now I'll look at the ladder, and there is a
new layer, Ladder dirt, with nothing on it.
| | 02:02 | I'll pull it up to the top and go back and look at
the reference and see how these ladders get dirty.
| | 02:06 | I'll press Ctrl+O and go
over to the Reference folder.
| | 02:10 | Here in Reference Images I've got my ladders.
| | 02:12 | This looks like a good example.
I'll open it up in see what I can see.
| | 02:16 | It looks like generally they
get cloudy, we'll call it,
| | 02:19 | That they may have some wear and tear here
and there, but really, it's generally cloudy
| | 02:24 | with some long darkness in the corners,
maybe some dust or dirt that accumulates.
| | 02:29 | I'm going to brush in some dirt. I'll press B for
brush, and I'll eyedropper some of that ladder color.
| | 02:36 | This way I've got a match into it.
| | 02:38 | I'll click on my foreground color and darken
it, maybe bringing up the Saturation just
| | 02:42 | a touch for a little bit of
color and swinging that Hue over.
| | 02:46 | I'm going to make this dirt
green brown we'll call it.
| | 02:49 | If you notice in mixing colors I tend to
use HSB: Hue, Saturation, Brightness.
| | 02:54 | I find that for my colors I'd rather play
with brightness and saturation and keep them
| | 02:59 | actually quite muddy, building up layers
over time of dirt and wear and so forth,
| | 03:05 | then looking at the Hue
to get the color right.
| | 03:07 | After while I find you start
to learn what values work.
| | 03:11 | Sub 30 gets you well into the reds,
| | 03:13 | 30 to 50 is orange through
yellows, and above 50 is yellow green.
| | 03:17 | This is going to give me a
muddy yellow gray we'll call it.
| | 03:21 | I'll hold Ctrl and click on the
layer 1 in the Ladder section,
| | 03:24 | Press B for Brush, and set my brush
as a very low-opacity Multiply.
| | 03:29 | I'll bring down the size, using my square
bracket, and I am going to lay down some dirt.
| | 03:34 | Because this is a tiling map, I
need to be careful of how I do this.
| | 03:37 | I'll zoom out, pressing Z
for Zoom and holding Alt.
| | 03:41 | I want my document small,
actually, so I've got room around it.
| | 03:44 | I'll go back to my brush by pressing B.
| | 03:46 | I'll click outside of the image,
hold Shift, and drag down.
| | 03:50 | I'll lay in a couple of more stripes of
this, adding in a line of dirt on one side.
| | 03:55 | You can see I'm just building
up a little bit of darkness here.
| | 03:59 | The idea is that I'm holding Shift and
keeping this vertical so it tiles seamlessly.
| | 04:04 | I'm going to do the same over here, clicking
and dragging, holding Shift, and making sure that
| | 04:09 | this stays nice and vertical on the corners.
| | 04:11 | That should be it for the Ladder dirt, and
these are meant to hold up pretty well.
| | 04:15 | Barring a ladder being splattered and paint,
we don't necessarily want to have it dirty
| | 04:19 | in splotches, because it's a tiling map
and we'll see those splotches repeat.
| | 04:23 | I can do the same on
some of my other elements.
| | 04:25 | So occasionally, on a facet of, let's say the hammer or
the wrought iron pry bar, I see some dirt in there.
| | 04:32 | In that case--and I'll go into the Prybar
group as an example, selecting the Wrought
| | 04:36 | iron--I'm going to brush in dirt using black.
| | 04:39 | I'll eyedropper one of the
colors, and there is a near black.
| | 04:42 | I'll make a new layer and brush
in some dirt on one of the sides.
| | 04:46 | I'll bring up my Multiply Opacity just a little bit,
and I'm going to brush in just a little bit here.
| | 04:53 | 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.
| | 04:58 | This means occasionally an element that touches
this will be a little different in color from
| | 05:03 | an adjacent face, which is true for that
pry bar; it shouldn't be perfectly even.
| | 05:07 | I'll try this out and see how it looks,
| | 05:09 | first saving out the PSD and then
saving out the flattened TIFF.
| | 05:13 | Back here in Maya, I've deselected the ladder, and
I'll go pick any object and swap out that material.
| | 05:22 | In the corners of the ladder and on
some of the faces, I've got dirt going.
| | 05:26 | I can see it's got a little bit of
patina, just enough to be not clean.
| | 05:31 | Then I'll go back and look at the pry bar and
occasionally, I can see a little bit of a variation.
| | 05:36 | It's working nicely. I'm ready to add in any
other dirt and finally the wood grain for the handle.
| | Collapse this transcript |
| Planning for optimal texture usage| 00:00 | In this video, I'll take a good long look
at my texture and make a judgment call if
| | 00:04 | I'm using my texture space optimally.
| | 00:07 | Right now I'm working in a large image, 1024
square, and the idea is I can take that big
| | 00:13 | across to Unity and let
Unity reduce if needed.
| | 00:17 | We can set a maximum size
for a texture if we want.
| | 00:20 | What I'll do is get a
little bit of woodgrain on.
| | 00:23 | In the exercises of chapter 5, I'll paint
woodgrain with a little more detail, but I'm
| | 00:27 | going to get some grain on my hammer right now
as a proxy, or stand-in, and see if my texture
| | 00:32 | is the right size.
| | 00:34 | I'll put that in and reduce it down as a copy, to
512 x 512, and see if my map still holds up.
| | 00:41 | We can never economize
enough on texture space.
| | 00:44 | There's always more room to reduce things,
and there is cases out there people making
| | 00:48 | games off one texture.
| | 00:50 | What I want to make sure of is that my tools
look good but I'm not wasting unnecessary
| | 00:55 | memory by having textures that are too big or
I have texture space that's not used well.
| | 01:00 | My ladder end blocks are generally rusty, and
I think that works nicely, although I may
| | 01:05 | take them and slide them over
into the wrought iron section.
| | 01:07 | I need to finish some detail here on the
ladder hole as well, where the rung comes through
| | 01:13 | and finally, get the
woodgrain on like I'd said.
| | 01:16 | I'll go over to Photoshop and see how this looks
and see what I can do to make it look better.
| | 01:20 | First, I'll start out with some woodgrain.
| | 01:22 | I'll go into the hammer, and I'm going to use just
some vertical grain as a quick sub for woodgrain.
| | 01:28 | Later, I'll come back, like I said, and add
some wave to it, painting some woodgrain from
| | 01:32 | scratch as a raw texture.
| | 01:34 | For now though, I'll hold Ctrl and click on
the Wood layer, make a new layer over it, and
| | 01:40 | make sure that's dragged into the group.
| | 01:41 | I made a new layer, but it went outside
of my hammer group, so I've pulled it in.
| | 01:45 | I'll rename this new layer "grain" and what
I'll do is swap my colors, because I have
| | 01:50 | got a good gray going here in the background.
| | 01:53 | I'll use my paint bucket to fill that in
and then choose Filter > Texture > Grain.
| | 01:58 | I'll use some vertical grain, bringing up the
contrast a little bit and a little bit more intensity.
| | 02:04 | I'll click OK and put some motion blur on,
choosing Filter > Blur > Motion Blur. A vertical
| | 02:10 | motion blur, maybe with a little less distance,
will give it smooth grain instead of dots.
| | 02:16 | I'll click OK and set
this over as a Color Burn.
| | 02:20 | It's good, but it's a little bit too
vibrant, and too dark for this hammer.
| | 02:24 | I'm going to take this layer and go under Image > Adjustments
and either Levels or Brightness/Contrast and bring it up.
| | 02:30 | I'll use my Levels in this case.
| | 02:32 | I'm going to swing this to much brighter.
| | 02:35 | There is a perfectly
straight woodgrain for my hammer.
| | 02:38 | Later I need to add in some variation,
but this is a pretty good stand-in.
| | 02:41 | What I am really after is, if I've got woodgrain
on here and I bring this out at 512, does it
| | 02:47 | hold up and look like woodgrain?
| | 02:49 | I'll deselect by pressing Ctrl+D, and then I'll add
in a little bit of a ring around the ladder rung.
| | 02:54 | I'll zoom in, press V
for move, and right-click.
| | 02:58 | When you right-click on a layer, you get a
flyout showing what layer is you are over.
| | 03:02 | Here is layer 2, which is my ladder hole.
| | 03:05 | I'm going to add in a bit of a ring here.
| | 03:07 | I'll hold Ctrl and select that layer,
then choose Select > Modify > Expand.
| | 03:13 | I'll expand this out by, let's see what 4
pixels looks like. Then I'll hold Ctrl and
| | 03:18 | Alt and click on the layer thumbnail and
deselect the black ring from it, which gives me a ring
| | 03:23 | selection clearly.
| | 03:25 | I'll add in a new layer and I'll fill this in
a light color, eyedroppering from my ladder
| | 03:29 | so it's a color match and filling this in.
| | 03:33 | Now I realize I just filled this in the same
gray, but I'm going to set the blending mode
| | 03:37 | here over as Soft Light so
it goes a little brighter.
| | 03:41 | I'll deselect and there is a ring around here, as
if it's got a trim ring on it or a folded edge.
| | 03:46 | I think I'm ready to bring this
across, maybe with one more addition.
| | 03:49 | I'll scroll down, and there is that hammer
face, and right now it's a very solid color.
| | 03:55 | Really what it needs is maybe a little more
of a, let's call it faceted appearance, where
| | 03:58 | it's been struck on things
repeatedly. Here is how I'll do this.
| | 04:02 | I'll make another temporary working document.
| | 04:04 | I'm going to run this fairly big,
maybe a couple thousand square.
| | 04:08 | I'll fill it with some clouds, making sure my
clouds go between gray and gray, so I don't
| | 04:13 | have drastic clouds.
| | 04:16 | I'll take this image and run some crystallization
on it, choosing Filter > Pixelate > Crystallize.
| | 04:22 | I'll run that Cell Size
fairly big, maybe 20 to start.
| | 04:26 | Then I'll run it again choosing Filter >
Pixelate > Crystallize and bringing down the Cell Size
| | 04:31 | to 10. This gives me a faceted look.
| | 04:34 | I'll take this and reduce it down, pressing
Ctrl+Alt+I and grabbing it and taking it from 2,000 to 512.
| | 04:42 | I'll select it by pressing M for
Marquee and clicking anywhere.
| | 04:46 | I'll press Ctrl+A to Select All, Ctrl+C to
Copy, and I'll go back over to my working PSD.
| | 04:52 | I'll deselect and paste this in.
| | 04:54 | What I'll do is take this and shrink it down,
pressing Ctrl+T and pulling it into place,
| | 05:00 | snapping onto the document and grabbing
the corner and holding Shift, scaling it down,
| | 05:06 | and maybe scaling it non-uniformly to fit.
I'll hit Enter to accept this and then I'll
| | 05:10 | make this layer, this chiseled
chip looking overlay, Multiply.
| | 05:15 | This way I've got a hammered finish going on.
| | 05:18 | I'll zoom in and see how it looks.
| | 05:20 | This should work for that hammered finish.
| | 05:22 | I think I'll crystallize it one more time so
it looks a little more faceted, as it blurred
| | 05:26 | a bit as I scaled it down.
| | 05:28 | I'll choose Filter > Pixelate >
Crystallize and reduce down this Cell Size.
| | 05:33 | We can see here in the preview,
that's going to get me a lot of facet.
| | 05:36 | I'll try it at 7 and click OK,
and there is my faceted hammerhead.
| | 05:40 | I'll pull down the Opacity,
and I'm ready to save this.
| | 05:44 | Here's the test to see if this works.
| | 05:46 | First, I'll save my working PSD at
full res. I'll call this 03_12_end.
| | 05:51 | With that PSD saved, I'm going to reduce its
size, pressing Ctrl+Alt+I. I'll make the width
| | 05:56 | and height 512 x 512.
| | 05:59 | Now I'll save out a working TIFF, pressing
Ctrl+Shift+S and choosing TIFF. I'll turn
| | 06:05 | off layers and call it 03_12_end. I'll hit Save,
bring it into Maya, and see how this works.
| | 06:11 | Here in Maya, I'll pick any of my
objects and make sure I'm in Object mode.
| | 06:15 | I'll go into that material
and swap out that new TIFF.
| | 06:18 | This is smaller, at 512 square, and it looks
like the detail is holding up pretty nicely.
| | 06:24 | Things may have gotten a little softer
on the rust here, but I'm okay with it.
| | 06:28 | The woodgrain shows up well, and I'll test
it out in my high-quality display, or using
| | 06:32 | Viewport 2.0, and see if it really works.
| | 06:35 | With Viewport 2.0 on, I'll go into the
Dialogue for Viewport 2.0 and turn on a few things
| | 06:40 | to really get a good game preview.
| | 06:42 | I'll turn on my Multisample Anti-aliasing
and also turn on my Screen-space Occlusion.
| | 06:47 | I'll hit Close and then I'll
put a light in the scene.
| | 06:50 | It's important to test this.
| | 06:52 | I'll put a light in, choosing a
Point Light, and I'll press W to move.
| | 06:56 | There is my Point Light, and I'll pull it away
from the hammer which I had centered at 0, 0.
| | 07:01 | I'll select both and deselect my
objects, and there is my light.
| | 07:05 | I'll press 7 to show the lighting in the view,
and as I pan around, I can really clearly
| | 07:10 | see my texture. Even at 512 and full in
the view, my objects look pretty good.
| | 07:15 | I haven't dealt with a specular or bump map
and I need to go through and make those, but
| | 07:19 | it's pretty straightforward to do so based on the
rust I've got and previous videos such as the gas pump.
| | 07:24 | The important part is that with a
reduced-size texture, letting Unity reduce it, I'll
| | 07:29 | end up with a good-looking image and I'll be
using less memory, less texture space, and
| | 07:34 | still get good-looking objects.
| | Collapse this transcript |
| Painting dirt and age variations| 00:00 | In this video I'll look at painting some
dirt and wear variations on my tool sheet.
| | 00:05 | In some games we may need lots of things
around--tools, props, and so forth--and the ability
| | 00:10 | to take a tool sheet like this, map a lot of
different parts to it, and add some variations
| | 00:15 | in dirt and wear, and lay
them over is important.
| | 00:18 | One of the things I can do is to take a different image
into Unity as a decal and lay it over a diffuse map.
| | 00:25 | If it's planned carefully, we can swap in and
out a decal on different tools, in case we're
| | 00:29 | seeing a whole rack of them, for example.
| | 00:31 | What I'll do is to roll up my group.
I've got my latest PSD open, and I'm going to put
| | 00:36 | a new layer over the top here.
I'll call this new layer Dirt.
| | 00:40 | On this dirt layer I'm going to add in
more rust. I'll press I for eyedropper,
| | 00:45 | eyedroppering my existing rust color and
picking a good bright one. I can always go into that
| | 00:50 | color picker and go a little bit
brighter with it in that Brightness tab.
| | 00:54 | Now I'm going to paint in here, and I'll start to add
in on this dirt layer a little bit of extra rust.
| | 00:59 | I'm going to paint it over, and this will add
in variation. I may need some tools that let's
| | 01:04 | say have been on the
water a bit and are rusty.
| | 01:07 | I'll add some right across
the hammer in a pry bar.
| | 01:10 | This gives me the opportunity also to have
different-looking stuff. Maybe we also need
| | 01:14 | to swap in age as an example.
| | 01:16 | I'll go back and delete it from the wood to
make sure that it's not overlapping. I'll
| | 01:21 | pick my overlay layer and press W for Wand.
| | 01:24 | I'll turnoff Anti-alias
and turn on Contiguous.
| | 01:27 | I'll magic wand that orange section and
then delete it from the dirt or rust layer.
| | 01:32 | Now I've got a bright rusty
section for my metal tools.
| | 01:35 | What I can do is to save this out as a
separate image with an alpha channel.
| | 01:39 | I'm going to make an alpha channel, and I can
always make multiple alphas and combine them
| | 01:44 | or save them out as I need.
| | 01:45 | I'll hold Ctrl, click on that Dirt layer, and
even though it shows up as a partial selection,
| | 01:50 | it's actually catching all of it. It'll even
include the transparent areas. This is just
| | 01:54 | what the marquee happens
to be able to wrap around.
| | 01:57 | I'll go into the Channels palette and make
a new alpha. I'll fill this alpha in with
| | 02:01 | white, and I can use this to
define an overlay or a decal later.
| | 02:06 | I'll click back up on my RGBs, turn
off my alpha, and go back to my layers.
| | 02:11 | I'll save out my PSD, and then I'll save out
this separate Dirt layer to lay over here.
| | 02:17 | It'll be a separate image with an alpha,
and I can use it if I need, in Unity.
| | 02:21 | If we think of a layered workflow and plan
out a texture sheet for our tools, we can
| | 02:26 | get good-looking textures that repeat nicely.
| | 02:28 | We can also get tools that have what looks like an
amazing amount of detail, really on a small image.
| | 02:34 | Remember, I painted this at 10 x 24 and
downsized in the last video to 5 x 12 to test it.
| | 02:39 | I might even go more extreme and see if I
can run this tool sheet at 256 square.
| | 02:44 | It's a great way to economize on texture space and
memory while still maintaining good detail.
| | 02:49 | We can also plan for a lot of
things sharing one texture.
| | 02:53 | I've only stacked up three tools here, but I
could add in more pry bars or other wrought
| | 02:58 | iron implements, more hammers or other tools
like saws that need maybe a rusty speckled
| | 03:03 | finish because they've been out.
| | 03:04 | I've got a large section of woodgrain that
I can use for all kinds of handles. Maybe
| | 03:09 | there's pruning shears or something similar.
| | 03:11 | And finally, I've got a section of aluminum.
| | 03:13 | If I'm dealing in construction tools as an
example, I could probably get away with a
| | 03:17 | section of the aluminum being part of a
level and anything else that's metal.
| | 03:21 | Maybe there is a trowel or a
hawk or something similar.
| | 03:24 | I can use the hole down here as a way to put
in either holes or even shrink down something
| | 03:29 | so it becomes more of a bolt or a dent.
| | 03:32 | It's a versatile way to texture, planning
out instead of unique unwrap, a texture sheet
| | 03:37 | and putting lots of different tools on there
to economize our materials and our textures in the game.
| | Collapse this transcript |
|
|
4. Modeling FurnitureModeling furniture using simple parts and reusable textures| 00:00 | In this chapter I'll look at
modeling furniture for use as Game Props.
| | 00:04 | We can model rooms fairly easily, but
really, if you look at a room there is--well--
| | 00:09 | a lot of stuff in it, and it's not
necessarily very special things but simply
| | 00:13 | the stuff that's there's
the function of the room.
| | 00:15 | As an example, if I walk into a house, most
likely I am going to see some kind of dining area.
| | 00:20 | If I walk into an office I'll probably
see a desk and chairs, that sort of thing.
| | 00:25 | Additionally, if we're dealing a place
that's maybe abandoned or run down, we
| | 00:29 | might see furniture that's strewn around.
| | 00:32 | And we need to make
pieces in order to have debris.
| | 00:35 | It's very easy for an environment in a game to look
really empty unless we fill it up with stuff.
| | 00:40 | And we want to do so in a way that
is matching the theme of the game.
| | 00:44 | What I'll show how to model then is
a wooden chair here, and I have got two
| | 00:48 | different examples, a standard
ladder back, and also one that's bent.
| | 00:53 | There is all kinds of
regional variations of these.
| | 00:56 | But the basic idea is we have got some place
to sit, and it's made of wood, and it's
| | 01:01 | got a very distinct form.
| | 01:03 | In this case this hoop in the back is
very, very recognizable in silhouette
| | 01:07 | and poses a particular challenge for
us for a game, as it's very curvy both
| | 01:12 | around the piece and then obviously the back here
in the loop. Additionally, the legs flare out.
| | 01:18 | This chair may be easier as it's
simply got squared-off elements.
| | 01:22 | However, it's got a big curve here
from the foot all the way up to the back.
| | 01:26 | So we need to make sure we have that in place.
| | 01:29 | What we want to think of while we are
modeling this kind of furniture is we're
| | 01:33 | going to work on a textured sheet that
most likely will have one or two chairs,
| | 01:37 | maybe even six, if you are dealing in a
dining room as an example, and they all
| | 01:42 | need to share one texture.
| | 01:43 | But we need to position them around so that it
doesn't look like they're sharing a texture, obviously.
| | 01:47 | This chair in particular may need some
modification in the texture so it doesn't
| | 01:51 | look like an obvious repetition.
| | 01:52 | We can see this mark right here and
another one right there that are very definite.
| | 01:57 | We'll make sure that as part of our
layout that although it's patina'd and worn,
| | 02:02 | there aren't obvious repetitive marks.
| | 02:05 | This chair is a little easier as it's
basically a uniform brown stain with some
| | 02:09 | wood grain showing on the seat.
| | 02:11 | However, this seat is unique
because it's got the holes on it.
| | 02:14 | What we need to think of then is
for our game if we are dealing with a
| | 02:18 | texture sheet, do we need the holes in the
seat or will it simply be a flat piece of wood?
| | 02:23 | The common theme here in modeling
furniture just like with the tools in
| | 02:26 | the previous chapter in the gas pump is we
need to share textures as much as possible.
| | 02:31 | We're seeing poly counts not be as much
of a limit unless we're going out to a
| | 02:35 | small form factor like an iOS.
| | 02:36 | The bigger deal is really that we're
reusing our texture space as well as we
| | 02:41 | can, keeping our load times
down and keeping our realism up.
| | 02:44 | So when we're running around our
environment we see, well, chairs maybe strewn
| | 02:48 | around and knocked over, but
definitely recognizable as chairs.
| | Collapse this transcript |
| Planning and analyzing the modeling of a chair| 00:00 | In this video I'll look at how to
plan out the modeling of a chair.
| | 00:04 | It may seem like the kind of thing you
want to dive in and start modeling on,
| | 00:08 | but it's very easy to get wrong.
| | 00:10 | And as we're surrounded by chairs and
use them daily, we tend to have a very
| | 00:14 | instinctual feel of how
they should feel and look.
| | 00:16 | What I look at in a chair, and this is
a good example to start with is first,
| | 00:21 | the overall height and the seat height.
| | 00:23 | The height of the chair back here is
at the height where a normal person
| | 00:26 | average height can reach over, grab the
back and pull on the chair, so it tends
| | 00:31 | to be right about 3 feet off the floor give
or take. The seat height is also important.
| | 00:36 | A chair has a higher seat
height than let's say a sofa.
| | 00:39 | So this seat may be at 16 to 18
inches off the floor, so somebody can sit
| | 00:44 | upright in it at a table.
| | 00:46 | If I assume that this seat here is at 16,
we're probably looking at 32 or 33 up
| | 00:51 | to the top of the back, which seems to work.
| | 00:53 | If it's 16 up to the seat, reasonably
the chair is about 14 maybe 13 across and
| | 01:01 | the seat might be 12 or 13 deep.
| | 01:03 | We have another couple of inches,
though, back here where this curve occurs.
| | 01:07 | What I'll do a lot of times is to mark
out some key heights in a document like
| | 01:12 | this, and let me tell you this
is actually very good reference.
| | 01:15 | There have been enough times from a
client I have gotten a Xerox, a photocopy of
| | 01:21 | something that has been faxed over.
| | 01:23 | Now I realize I'm dating myself a
little bit here in the technology, but
| | 01:27 | I have had to deal with really awful reference.
| | 01:30 | So being able to search out good
reference like this is a boon to modelers.
| | 01:34 | What I'll do is put in some quick height marks.
| | 01:37 | I'll make sure that my brush is set to
Normal at full size, and I'll put in a
| | 01:42 | line here and a line there and then some text.
I'll put this in at 17 inches.
| | 01:49 | My text is very, very tiny.
| | 01:51 | I'll hit Ctrl+Enter to accept it and scale
it out, pressing Ctrl+T and scaling it up.
| | 01:57 | I don't really care what font it is. I
really care what the measurement says
| | 02:01 | right now, and if it's too blurry
I can always go back and fix that.
| | 02:04 | I'll add in some lines so that in case I
come back to this, I can remember I said,
| | 02:09 | oh, it's 17 inches tall.
| | 02:11 | What I'll do, then, is put corresponding
marks over here, up to the top and down
| | 02:16 | here on the bottom. I'll put more lines
up here, and it's okay if they squiggle
| | 02:21 | a little bit because this is just
really a rough drawing, this will be 34.
| | 02:25 | In this case I'll take this text, select it
by pressing Ctrl+A and change the point size.
| | 02:31 | Here even at 72 it's pretty small, so I'll zoom
in and make sure I grab it and make it bigger.
| | 02:36 | We could enter in a
custom point size if we want.
| | 02:39 | But it's a working drawing so
I'm not going to be too picky.
| | 02:42 | It's a good idea to go through and kind
eyeball out the dimensions, maybe even
| | 02:46 | measure a chair you have got.
| | 02:47 | Figuring out the right size, because
a little bit off in one way or another
| | 02:51 | is going to look odd.
| | 02:53 | And what we want to avoid is things
that are obvious in our daily lives looking
| | 02:57 | just a little bit off, because then we
lose track of what's going on, and we
| | 03:00 | say, wait, this doesn't look right.
What was I doing in this game?
| | 03:04 | And the immersion of the game is lost.
Here's what I'll plan in the modeling of it.
| | 03:08 | I have got two symmetric legs in front and
two in back, so reasonably if I modeled
| | 03:13 | one back leg and one front
leg I can clone them over.
| | 03:17 | I have got general purpose blocks under
here for the stretchers and the skirt.
| | 03:21 | These are really just boxes that need
to snug into the legs, but this shadow
| | 03:25 | line right there is important.
| | 03:27 | I'll use a different color and
mark out some key shadow lines.
| | 03:31 | I'll make myself a new layer and
draw on that, pressing B for Brush and
| | 03:35 | downsizing the brush a bit.
| | 03:36 | What I'll do a lot of times for
chair because the mesh lines are pretty
| | 03:40 | straightforward is make sure I mark
out on here key shadow lines, right here
| | 03:45 | where the leg overlaps and goes in
front of that skirt, that's a key element.
| | 03:49 | Another key piece might be right
here, and really it's not an exact mesh
| | 03:53 | drawing as we have done previously
as much as a thorough accounting or
| | 03:58 | acknowledgment of the key parts of
the design. This chair is crafted, even
| | 04:03 | though maybe just a cheap chair.
| | 04:05 | There is an element of craft and design
to every piece, and we need to have that
| | 04:09 | come across in our model.
| | 04:11 | Even if the poly count is low, the leg
still tapers and these actually do flare out.
| | 04:16 | This curve is important, and this
curve at the back as important as well.
| | 04:21 | What I'm going to do is put a line
across here and also a couple down here,
| | 04:26 | and this lets me know that
that is curved right there.
| | 04:29 | It's a big deal to get it right and to get the
overall silhouette looking like what we should have.
| | 04:35 | If this was too vertical or straight up
and down it would look uncomfy, and it
| | 04:39 | would have looked odd, unnaturally un-chair
like, and that's what we want to avoid.
| | 04:44 | So when you're modeling, look things
over and plan it out a little bit, look at
| | 04:48 | the key details in the model that you
know need to come across and look at the
| | 04:52 | subtle curves so you can plan
and for your polys there later.
| | Collapse this transcript |
| Blocking out the basic form| 00:00 | I have got the rough plan of my chair in place,
and I have got a good reference image.
| | 00:04 | I'm ready to get in the Maya
and start blocking out this form.
| | 00:09 | I have got some key heights and sizes I know I
need to make sure I get in the right place,
| | 00:13 | the seat height, the back height,
and the width and depth overall.
| | 00:16 | Here in Maya I have started a new scene,
and I'm going to check my units. I'll go
| | 00:21 | to Window > Settings/Preferences > Preferences.
| | 00:23 | In my Settings I'll put my linear units
in inches. If you want to work in metric,
| | 00:27 | that's fine. Just make sure you got the
right heights in place. I'll click Save,
| | 00:31 | and I'll start out with a box.
| | 00:34 | As we have seen previously. I'm going to
make myself a bounding box, and I'll put
| | 00:37 | this bounding box at 0, 0, 0.
Now, put in the sizes.
| | 00:42 | What I had said on the chair--and I'll
go back to look at the reference on it--
| | 00:47 | is that it's about 14 inches wide, 14 or
15 deep, including the curve of the back
| | 00:51 | legs, and 34 tall. 14 inches
across the front should work nicely.
| | 00:56 | I'm calling it 15 inches because there
is this seat, but then there's this back
| | 01:00 | that curves out, so that gives me
probably 15 from front to back overall, 34 tall
| | 01:06 | and a seat height of 17. I'll go into
my polyCube1 attributes, and I'll put the
| | 01:11 | width in here at 14.
| | 01:12 | Here is the height at 34 and a depth
of 15. I'll put two divisions on the
| | 01:18 | height. I'll zoom out, and
there is my box in place.
| | 01:21 | If I look in the transforms, it's at 0,
0, and I need to raise it up. I'll put
| | 01:26 | Translate Y at 17, and now this chair
will be on the floor, assuming my finished
| | 01:31 | floor is at 0. We can see when I turn
on the grid, that this bounding box is
| | 01:36 | centered on 0 and down on 0.
| | 01:38 | When I make the chair, it will come in
automatically on the floor, and that way
| | 01:42 | it'll light right, and it'll also sit
down in case I have physics applied to it,
| | 01:46 | because I may want to walk into
a room and kick over a chair.
| | 01:49 | Thankfully, this edge loop corresponds
correctly to my seat height without my
| | 01:52 | having to move it. If I need it, I can
always pick it and move it up and down,
| | 01:56 | but this will work well for now.
| | 01:58 | What I'll do, then, is press Ctrl+A to go
to the channel box and make myself a new
| | 02:03 | display layer, creating a new layer
and assigning the selected objects.
| | 02:06 | I will rename this layer Bbox, bounding
box for short. I'll click Save, and I'm
| | 02:12 | ready to block in the form.
| | 02:13 | What I'll do to start is get some
boxes in for the big pieces. I'll start out
| | 02:18 | holding Shift and right-clicking and
choosing Poly Cube. I'm going to make the
| | 02:22 | seat. I'll make in, well, any old box here.
| | 02:26 | What I'm going to guess at is that the
seat is 14 inches wide and about 13 deep,
| | 02:31 | the rest of this width is accommodated
by that curved leg. I'll put the width in
| | 02:36 | here at 14 and the height I'm going to
put at 1. I'll put the depth at 13, and
| | 02:41 | now I'll use my align tool
to get it in the right place.
| | 02:44 | I'll press and hold the spacebar for
the Hotbox and choose Modify > Align tool,
| | 02:49 | I'll align it on the center, centered
and forward to the front then I'll press
| | 02:54 | W for move. I'll pick this seat and
snap the pivot holding V and D onto one of
| | 03:00 | the corners. I'll pull it down and snap onto
that edge loop, and now I'm going to make the legs.
| | 03:04 | In looking at front legs, they're
basically boxes, but they do need to taper at
| | 03:09 | the bottom. It's a little bit lower
than halfway, so I'll snap a box in and
| | 03:13 | then put an edge loop down there. I'll
hold Shift and right-click and choose
| | 03:16 | Poly Cube. I'll click and drag in a
poly cube and release for the height.
| | 03:21 | I'm going to make the height of this 16, because I
know that this is an inch thick and 17 inches up.
| | 03:27 | I'm going to put the width and depth
here at 2 and 2. I'll put the Subdivisions
| | 03:32 | Height at 2 as well, and I'll
move it into the right place.
| | 03:35 | In this case. I'm going to align to
my bounding box choosing Modify > Align tool.
| | 03:39 | I'll align it to the bottom up to
the front and out to the side. I'll zoom
| | 03:46 | in, and now I'm going to
move it in a little bit.
| | 03:49 | The chair has a little bit of a lip
here where the top overhangs the leg.
| | 03:53 | I'll use my relative transform, and I'm
going to pull it back by a quarter inch
| | 03:57 | putting -0.25 in the X and back by a
quarter inch in the Z -0.25 as well.
| | 04:04 | I'll hit Enter, and there's that lip.
| | 04:05 | Now I'll pick these edges either by
vertex or edge, and I'll pull them down. I'm
| | 04:11 | going to move them down in the Y, let's
say an inch and a half, and I think that
| | 04:15 | loop is at the right place.
I'll right-click and choose Object.
| | 04:19 | If you notice here. I'm right clicking,
and it's giving me a different dialog,
| | 04:22 | because I'm not on a mesh line to start.
| | 04:24 | Now I'll right-click on a
mesh, and there's Object mode.
| | 04:28 | My leg looks pretty good in the right
place, but I need to taper the bottom.
| | 04:31 | What I'll do is spin underneath, and
in this case I'm going to scale a face
| | 04:36 | pressing F11 for face and picking the
bottom. I'll press R for scale and V and
| | 04:42 | D to move the pivot. I'll put the
pivot for this face on the corner, and I'm
| | 04:46 | going to hold Ctrl and scale on the Y
axis to taper that leg in, looking at the
| | 04:51 | scaling factor down in the lower left of my viewport
down to about 0.7 or so. There is the tapered leg.
| | 04:57 | The idea here is before I really get
into modeling serious detail around
| | 05:01 | wrapping. I'm going to block in that
basic form, making sure that I have got all
| | 05:05 | the elements roughed in and in the
right place. I'll put in the back leg and
| | 05:10 | then the other pieces are
just boxes I can snap between.
| | 05:13 | What I'll do for the back is to make a
new box. I'll hold Shift and right-click
| | 05:17 | and choose Poly Cube. I'm going to make
a poly cube that's fairly slim. I'll go
| | 05:22 | into the Inputs, and I'll put the width
and depth at one and a half and one and a half.
| | 05:27 | I'll make the height 34, and I'm going
to give this some divisions along the length.
| | 05:33 | Actually, I should make the height 33,
as this chair had a bulge or a crown we
| | 05:37 | will call it in the back, so
the leg only comes up to about 33.
| | 05:41 | On the height I'm going to give it some subdivisions.
I'll try it at 6, and this will let me bend it.
| | 05:47 | It's a very shallow curve, and I don't
want to spend too many polys on it, but I
| | 05:52 | do need to have that arc in there.
| | 05:54 | As I don't have my Shell showing, I'll
press my spacebar for my Hotbox.
| | 05:58 | I'll click in this space to the right of
Maya and turn on Shell. I'll go to the
| | 06:02 | Deformation Shell, and there is the
Nonlinear Bend tool. I'll put a bend on
| | 06:06 | this, and then I'll press
Ctrl+A to go to the attributes.
| | 06:10 | In the bend1 there is a curvature. I'm
going to add a little bit of a curvature
| | 06:15 | to this back curving it appropriately.
| | 06:16 | What I need to do is to rotate this
bend over, so it goes in the right
| | 06:20 | direction. I'll press E for rotate,
making sure I press and hold E and left-
| | 06:25 | clicking anywhere to see if Discrete Rotate is
on, and I'll rotate the bend 90 degrees over.
| | 06:31 | Then I'll see if this looks right. And
judging here in a side view, I think I have
| | 06:35 | got the bend pretty good. I'll turn
off the grid and just pull back the
| | 06:39 | curvature a little bit, it doesn't need
to be a lot, and what I think I'll also
| | 06:43 | do is take the Low Bound down.
| | 06:46 | What this does is straightens out that
back leg just a bit, so it's straighter
| | 06:50 | on the bottom, more curved on the top.
I'll right-click and choose Object.
| | 06:55 | Right now, I have got the bend handle
into to the mouse which is why I'm getting
| | 06:59 | this dialog. When I pick the object and
right-click, I can choose Object mode,
| | 07:02 | I'll delete the history by pressing
Shift+Alt+D and move the leg into place.
| | 07:07 | It looks like I have got this back pretty
well, and it does actually sit forward,
| | 07:10 | notching into the seat a little bit.
I'll pull that in and see if it's in the
| | 07:15 | right direction. It looks pretty good.
| | 07:17 | The last part then is to get it in the
right place, holding Shift and aligning
| | 07:21 | by pressing Modify and Align tool on
the hotbox to that bounding box. I'll pull
| | 07:26 | it in and just move this leg in a touch,
that way the back can have a little bit
| | 07:30 | of a taper. I'll bring this in by half an inch
and go back and check my reference once more.
| | 07:35 | What I'm doing here is really blocking
out that chair, making sure I have got it
| | 07:39 | all in the right size and proportion
and saying do the elements before I have
| | 07:43 | highly refined them look right? Is the
seat in the right place? Does the leg have
| | 07:48 | the right taper? And is
the rear leg curved enough.
| | 07:51 | If I mirror these over, and I'm
imagining what it looks like to mirror, does it
| | 07:55 | look right? Is it too chunky or too thin?
| | 07:57 | When I put the stretchers in, will it
work? It's important to model it in pieces
| | 08:01 | and block in that form, making sure you
get roughed in elements before you start
| | 08:05 | refining and adding too many faces
in to deal with. I'll keep blocking it in,
| | 08:09 | mirroring over, and adding in the simple
boxes such as the stretchers, skirts, and
| | 08:14 | other elements, then I'll see if I have
got the proportion right, and finally,
| | 08:18 | massage the detail a little bit if I
need, pushing things up and down as they
| | 08:22 | need to be right on to the reference.
| | Collapse this transcript |
| Adding detail and softening edges| 00:00 | In this video I'll add some detail to my chair.
| | 00:03 | I have continued on the blocking end. I
slimmed down the legs because I realized
| | 00:06 | mine were a little too thick.
| | 00:08 | I have also moved in and rotated these
backs slightly, so it's got a little more
| | 00:13 | of an arc in the back here, and I
snapped the feet down to the floor.
| | 00:16 | I'm ready to start tapering things and
adding details, such as the skirts--also
| | 00:21 | playing with the smoothing
groups to round over some corners.
| | 00:23 | I'll start to look at adding
detail here in the back legs.
| | 00:26 | I'll look at the reference
to see where they taper first.
| | 00:29 | We can see on the back legs, it's
really after this stretcher that they need to
| | 00:33 | taper--that they're fairly
consistent from here most of the way up.
| | 00:37 | I'll taper that down making sure I
taper from the outside corner in.
| | 00:42 | Then I'll go and add some skirts in
and finally these bars across the middle.
| | 00:47 | I'll pick one of the back legs, I have put
both in, and it's very likely I'm going
| | 00:51 | to end up deleting and re-copying
or something similar.
| | 00:54 | I'll zoom in on it, spin
around, and pick the bottom polygon.
| | 00:58 | I'll hit R for scale and
press V and D move the pivot.
| | 01:02 | I'll put the pivot on the outside corner,
and I'll Ctrl and scale this polygon
| | 01:07 | down to give it a taper.
| | 01:09 | I'll make sure I look at
it from all different sides.
| | 01:11 | This looks pretty good, although there
is one last detail to take into account.
| | 01:15 | I'm going to zoom in and
press 4 for a wireframe.
| | 01:19 | This chair needs to sit flat on the
floor not with the leg at an angle.
| | 01:23 | I'll press F9 for vertex, pick these
vertices, two at a time, pressing V for
| | 01:28 | snap and holding the Y axis and
snapping down to the other leg.
| | 01:33 | I'll make sure this is done on both of them.
| | 01:35 | That way this leg sits flat on the floor, and I
don't have strange occlusion or clipping issues.
| | 01:40 | Now I have got my chair, and I'm
ready to add in some of the back.
| | 01:44 | For the back where it's got that curve
in the top, I'm going to make the piece
| | 01:49 | flat and then bend it into place trying
to make it at an angle between these two
| | 01:53 | curved sides can get interesting and awkward.
| | 01:55 | What I'd rather do is go into a front view,
press F to focus and look at my chair.
| | 02:00 | I'll start out with a box, holding Shift
and right-click and choosing Poly Cube.
| | 02:04 | What I'm going to do is press and hold
V for Snap, snapping this box cleanly
| | 02:09 | between, dragging up for the
height and coming back to the polyCube4
| | 02:14 | attributes and giving it a different
Height. I'm going to say it's about three
| | 02:17 | quarters of an inch thick.
| | 02:19 | The Width is where I want it
to be and the Depth is too much.
| | 02:22 | But what I'll do here is model this in versus
trying to adjust the Depth to the right measurement.
| | 02:27 | I'm going to give the
Subdivisions with a few extra parts.
| | 02:30 | Let's put it up at 4 as an example,
and I'll see if this works on that curve.
| | 02:35 | Now what I'll do is press F9 for vertex,
grab these bottom vertices and pull them up.
| | 02:40 | I'll look at the reference again
and see if I'm in the ballpark.
| | 02:43 | It looks pretty good, I need
to add in this bump in the top.
| | 02:47 | I'll pull these up a little more and
then pan over, grab the three vertices
| | 02:51 | up at the top, which are actually six--three
in front and three in back--and pull them up.
| | 02:56 | Then I'll pull the center up just
a little bit to make that curve.
| | 03:00 | Now what I'll do is get this in the right
place, but first, I'll optimize it just a bit.
| | 03:05 | We can see in a shaded view--and I'll
turn on the Wireframe on shaded--that
| | 03:09 | I have got faces on the side, as this element will
cleanly be between these legs, I can delete those.
| | 03:15 | As I make things I want to go
through and delete the parts I don't need.
| | 03:19 | I'll delete those and spin back around.
| | 03:22 | I'll go into a Side View and get it lined up.
| | 03:25 | This is a place where we can either switch
to a wireframe or choose Shading and X-Ray.
| | 03:30 | I'm going to pull this down
and then hit E for Rotate.
| | 03:33 | This is one place. I'll press and
hold E, left-click, and hold anywhere and
| | 03:37 | turn off my Discrete Rotate as I'm not really
sure what angle that is it just has to look right.
| | 03:42 | I'll pull that back in.
| | 03:44 | I'll press and hold W and switch
from the World axis over to the Object.
| | 03:49 | This way I can slide it forward on the Z.
| | 03:51 | There is the back in the right place,
and now on its local Y axis I'll pull it
| | 03:56 | up, letting the legs just
stick up over the back a bit.
| | 03:59 | This camouflage is that transition
where I have got the missing face because I
| | 04:03 | deleted it and gives me yet
another little twist in the silhouette.
| | 04:07 | One more thing to notice that's not
perfectly meeting, which is how this
| | 04:10 | furniture should be, there's lots of
little overlaps and under-laps here.
| | 04:14 | I can repeat this process to get the
back stretchers in. And finally, I'll make
| | 04:18 | new boxes to clone these in, the skirts
underneath and the stretcher under here.
| | 04:23 | What I also need to do is to
work over the smoothing as usual.
| | 04:27 | Hopefully you have noticed this is a pattern.
| | 04:29 | I'll turn off my X-Ray and
turn off the Wireframe on shaded.
| | 04:33 | It looks pretty good, but I want to
make sure that this leg is nice and smooth.
| | 04:37 | What I'll always do is model and then go
back and work over hard and soft edges.
| | 04:42 | I also need to add some taper into
the seat and round over these corners.
| | 04:47 | I'll do that and deal with the
smoothing groups on all of them.
| | 04:50 | To round the corners I'll press F10
for edge, pick those two, hold Shift and
| | 04:54 | right-click and Bevel them.
| | 04:56 | I'll uncheck Offset As Fraction, and
I'm going to Bevel them at 1 inch.
| | 05:01 | I think that works, and I'll bring up
the Segments to 3, and it looks like I have
| | 05:05 | got clean coverage over that leg,
looks like it's a little bit off.
| | 05:09 | I think will end up doing is moving
this leg and just a little bit so it
| | 05:13 | just slips under there.
| | 05:15 | Alternately, I can taper it out because this
seat is actually not a square, it's a taper.
| | 05:20 | I'll try a taper and see
if this behaves any better.
| | 05:22 | It's really a question of massaging the
proportion. Everything in here changes
| | 05:27 | in every direction, nothing
should be exactly straight.
| | 05:30 | I have got those vertices selected,
and I'll scale them just a touch.
| | 05:34 | That looks pretty good as it overlaps that leg.
| | 05:36 | Now I'll do the same on the back and then
look at those softened and hardened edges.
| | 05:41 | I'm going to fit this seat into the
back legs, scaling it in so that I get yet
| | 05:45 | another small shadow line there.
| | 05:47 | When I'm dealing in occlusion in a game, even screen
space occlusion it will be a little dark there.
| | 05:52 | I'll press F8, and now I
need to soften across here.
| | 05:57 | I'll pick this object, make sure I hold Shift
and right-click and harden up all of the edges.
| | 06:02 | Then I'll come back and press F10
for Edge and pick these two middle
| | 06:06 | edges, taking those two and holding Shift
and adding to the selection on the other side.
| | 06:10 | I'll hold Shift and right-click
Soften/Harden and Soften Edge.
| | 06:15 | I'll deselect, and it looks good.
| | 06:18 | Again, my test is I should
see flat to round to flat.
| | 06:22 | I'll do the same thing on the back
leg making sure that the corners are
| | 06:25 | preserved as hard and these edge rings
actually edge loops that travel in a ring are soft.
| | 06:31 | It's important to do this, so we
don't get flickering in a game.
| | 06:34 | Then I can finish roughing out my chair,
adding in the other elements and see if
| | 06:39 | there's anywhere else I need
to deal with before unwrapping.
| | Collapse this transcript |
| Refining the silhouette| 00:00 | I'm ready to start getting in some of
the additional details that really get
| | 00:03 | the silhouette going.
| | 00:04 | The ladder in the back is a key one, as
that's a real signature piece here and
| | 00:09 | really shows up in the
silhouette when we look through the chair.
| | 00:11 | I have got that key arch in the
top and the legs are in place.
| | 00:15 | I have tapered them down, and I'm
also ready for the skirts here.
| | 00:18 | This is one of those things that seems
fairly obvious, but I have seen people miss it.
| | 00:22 | In furniture like this, it's very
difficult to join a flat top to a leg. And so
| | 00:27 | what we need to do is actually join the
legs to a skirt that goes between them
| | 00:31 | and join the top to the skirt, that
way those connections are easier to make.
| | 00:35 | To make those I'll go into a Side View,
and I'll use my Snap Tools to get that in place.
| | 00:41 | I'll hold Shift and right-click
and choose Poly Cube.
| | 00:44 | In this case, so I can see it clearly,
I'll turn on the Wireframe on Shaded.
| | 00:47 | I'll snap this cube in, pressing V
for Snap and clicking on a vertex and
| | 00:52 | snapping up to an opposite.
| | 00:54 | Occasionally, it's not going to work,
sometimes it's finicky if there's multiple
| | 00:58 | vertices overlapping, and that's okay.
| | 01:00 | The trick here, and I see this quite
often, is to start out maybe in a different
| | 01:04 | view, a Perspective like
this and try that cube again.
| | 01:07 | I'll press Shift+Right-click, choose Poly
Cube, and run it from the outside of the leg.
| | 01:13 | I'll click and drag and let it go over
to this leg snapping onto that vertex and
| | 01:18 | dragging up for the height
holding V to snap if I need.
| | 01:22 | In this case, the height doesn't matter too
much because I am going to adjust it later.
| | 01:25 | What I think is I'll come in and
put the Height at 2, then I'll put the
| | 01:30 | Width maybe a little bulkier, here
it is at .75, and I am going to get it
| | 01:34 | onto the front leg.
| | 01:35 | I'll hold Shift, select the front leg and
on my hotbox, choose Modify and Align tool.
| | 01:41 | I'm going to align this onto
the front leg, front to front.
| | 01:44 | Then I'll align it top to top, and now I
need to model it into place on the back
| | 01:49 | because I have introduced a taper in the seat.
| | 01:51 | What I'll also do is make sure I move it
in to get that extra shadow line going.
| | 01:56 | I'll pick it and move it in
by -.25, or a quarter inch.
| | 02:01 | I'll press F9 for Vertex
and pick the back vertices.
| | 02:04 | I'll probably spin mostly in a Bottom
View and slide them on the x axis to come
| | 02:09 | in, watching out that this edge
here stays as parallel as I can get it.
| | 02:14 | It's okay to have a little bit of a taper.
| | 02:15 | It adds character to the chair, and
it's such a small area under here that I
| | 02:19 | don't mind it not being perfect.
| | 02:22 | Additionally, I want to make sure that
this skirt lands cleanly in this leg.
| | 02:26 | We can see here I may also end up moving
some stuff around just so I get all the
| | 02:30 | little shadow lines in the right place.
| | 02:32 | I'll go into the Side View and see
where this actually landed in a wireframe.
| | 02:36 | We can have things clip through gently.
| | 02:38 | I can try to get it as close as I can
and what I think I'll do is just move
| | 02:42 | these vertices in, keeping them
roughly parallel and then pulling them over.
| | 02:46 | I'll actually let it clip through here.
| | 02:48 | That's okay to do as it's not going to
affect anything in a solid single mesh.
| | 02:53 | I need to economize this a little bit.
| | 02:55 | I'll press F11 for face
and select all the faces.
| | 02:58 | Then I'll switch over to Shaded View by
pressing 5 holding Ctrl and deselecting
| | 03:03 | the three visible faces.
| | 03:05 | The two ends in the top are hidden by
other pieces of wood so I can delete them.
| | 03:09 | I know I'm going to mirror this.
| | 03:11 | So I'm going to make one,
unwrap it, and then clone it.
| | 03:15 | I'll take this piece, since I have
already got it roughly in place and clone it
| | 03:19 | down to be the bottom stretcher.
| | 03:20 | I'll press Ctrl+D to clone, V+D to
move a pivot, and snap it onto the bottom.
| | 03:25 | I'll pull this down right onto that
vertex that's where that taper actually starts.
| | 03:30 | Now I'll come back in here by edge,
select the two edges, hold Shift and
| | 03:33 | right-click, and Bridge.
| | 03:35 | I had already set my Bridge to be zero
divisions, however, if you forget to do
| | 03:40 | that--or you're in a clean install of
Maya where the Divisions are at the
| | 03:43 | default--you can go into the Poly
Bridge Edge, and there's Divisions at zero.
| | 03:47 | With those two edges selected, I'll
press W for move and pull them down.
| | 03:51 | I am going to say that it's
roughly half that height of the original.
| | 03:55 | I'll make sure this goes into the right place.
| | 03:57 | It looks pretty good like this, and
I'll just check the thickness, maybe it
| | 04:00 | needs to thin down a little
bit, or I can leave it alone.
| | 04:03 | I'm working by edge here.
| | 04:04 | You can really work by edge,
face, vertex, whatever you'd need.
| | 04:08 | As long as it's coming out right, you
can select and move different things to
| | 04:12 | move that chair around.
| | 04:14 | I had picked two edges, which by
definition take this face with it, which is
| | 04:18 | really what I wanted to move.
| | 04:19 | I can clone this stretcher over to
the other side, and now I'll work on
| | 04:22 | the ladder in the back.
| | 04:23 | Once I have got the basic form blocked
out, what I'm doing is adding in pieces
| | 04:27 | that really contribute to the silhouette.
| | 04:29 | When we stand back, and we look at
this chair, that skirt, and that stretcher
| | 04:33 | are very prominent, and we
need to see them in place.
| | 04:36 | When we see the chair more from the
front, seeing the front stretcher, and that
| | 04:39 | ladder back are very important.
| | 04:42 | I'll go into my Front View, and
there's my chair, and I'll use the same
| | 04:45 | technique holding Shift and right-clicking,
choosing Poly Cube and snapping
| | 04:49 | right between that back.
| | 04:51 | I'll snap these elements in, and this
time it liked it. I'll drag up for the
| | 04:55 | height and spin around in the Perspective.
| | 04:57 | Now what I'll do is change
the depth of this block over.
| | 05:00 | I'll go look at the reference
and see how big it needs to be.
| | 05:03 | In my estimate, they're about as tall
as this side stretcher, call it maybe an
| | 05:07 | inch and a half, if that big.
| | 05:08 | I'll take this Depth back
down to an inch and a half.
| | 05:11 | I'll make the Height three quarters of
an inch, and then I'll take this piece
| | 05:15 | and pull it back into the chair.
| | 05:17 | What I need to do is
actually add a curve to this.
| | 05:20 | In here I'll put the Subdivisions Width at 3.
| | 05:23 | It doesn't have an arch top
necessarily, like the top of the back does.
| | 05:27 | What it needs is a curve to
accommodate a person sitting.
| | 05:31 | By putting in three subdivisions I
have got just enough geometry that I can
| | 05:34 | take these middle faces and pull them back
slightly introducing a slight bend in that piece.
| | 05:40 | Now I'll rotate it pressing E
for Rotation and spinning it.
| | 05:44 | What I'll watch here is that this edge
on the left of this ladder is the same
| | 05:50 | degree of rotation, or is parallel to
this edge of the back, it's a little bit
| | 05:54 | more, and I think it's in a good place.
Now I can take this and clone it.
| | 05:59 | I'll press F8 for Object, W
for Move, and Ctrl+D to Clone.
| | 06:03 | Before I clone, I may want to unwrap.
| | 06:05 | What I'll do though is clone this
briefly and the reason to clone it is to
| | 06:09 | check, did I get it right?
I'll pick both and pull them up.
| | 06:13 | There is 2 and one more.
| | 06:16 | With three of them in place, even
allowing for some slight movement and
| | 06:20 | knowing that I'm going to delete them
when I'm unwrapping, I need to check it
| | 06:23 | against the reference.
| | 06:24 | What we are looking for here in the
silhouette is that when these are cloned,
| | 06:28 | they don't look too thick.
| | 06:29 | It looks like my need to be
higher and a little bit thinner.
| | 06:32 | What I'll do also to check this is go
into Viewport 2.0, and I'll turn off the
| | 06:36 | Wireframe on Shaded and make sure at
Viewport 2.0, that I go into the dialog,
| | 06:41 | and I'll turn on the Multisample Anti-aliasing.
It's good to test it this way.
| | 06:45 | This way you see if your edges are
holding up or if the jaggies in the edge are
| | 06:49 | obscuring a possible detail.
| | 06:51 | What I can see I need to do here is to
take all of these elements and slim them down.
| | 06:56 | I'll press R for scale and make sure in
Scale by pressing and holding R that I
| | 07:00 | am working in the objects axis.
| | 07:02 | I'll scale them in on the Y axis just a
little bit, and then I'll pull them up.
| | 07:06 | I'll reduce the spacing
and see if I got this right.
| | 07:10 | I think I have got my ladder
back in a pretty good place.
| | 07:13 | It's curved, and I can see that curve
when I look down on it. As that default
| | 07:17 | controller is 2 meters high, there's a
good chance of seeing a chair in a view
| | 07:20 | something like this.
So it's important to see that subtle curve.
| | 07:23 | From the front, the ladder back is
working nicely and from the side I get my
| | 07:27 | elements and even obliquely, I can
see just a little bit of that curve.
| | 07:31 | I have got my single stretcher and skirt
in ready for cloning to the other side.
| | 07:36 | The last thing to do is to add the seat detail.
What I'll do is rough in some of the faces here.
| | 07:42 | It's not that we need an enormous
amount of variation, but it does need to have
| | 07:46 | a little bit of geometry to wiggle.
| | 07:48 | I'll try introducing some edge loops,
holding Shift and right-clicking, choosing
| | 07:52 | the Insert Edge Loop tool
and using equal edge loops.
| | 07:55 | I'll try putting in 4.
| | 07:56 | When I click on this, you can see I have
broken the edge flow as part of that bevel.
| | 08:01 | What I may need to do is click several times.
| | 08:03 | There are those on the front and back,
and now if I click on that edge, it wants
| | 08:07 | to go in the middle.
| | 08:09 | That's not what I'm after
and so I'll switch over.
| | 08:11 | I'm using the multiple edge loops to
get where I still have the existing edge
| | 08:14 | flow the original edges in the front divisions.
| | 08:19 | Now I'll hold Shift and right-click
and use my Interactive Split tool.
| | 08:23 | I'll go from edge to edge, and I will
hit Enter to accept it and go from vertex
| | 08:29 | to vertex, really using those
existing edges I have got as markers.
| | 08:33 | I'll hit G and repeat this once more.
| | 08:37 | One more repetition, and I have got
enough geometry in to start to make the seat.
| | 08:42 | I'm not going to go in and carve in the seat.
| | 08:44 | I accidentally hit F8 there, thinking I
was done, I was going to get out of it.
| | 08:49 | It's important when you're using a
tool like this to remember to accept the
| | 08:52 | tool, pressing Enter to
finish splitting that edge.
| | 08:54 | What I am going to do here is
add a little bit of variation.
| | 08:58 | If we look at the original, we can see
that the seat is carved in and really
| | 09:02 | what I'm after is that
I have got a dip in the front.
| | 09:05 | I can introduce another edge loop along
here if I need but I don't want to spend
| | 09:09 | all the geometry to carve in a
seat and many chairs are fairly flat.
| | 09:13 | So I am going to economize here and
say I'm varying away from the reference,
| | 09:17 | instead of having a fully carved, almost
tractor style seat, what I am going to
| | 09:22 | do is put in just a little bit of wiggle.
| | 09:25 | I'll press F10 for Edge and zoom in, and it
looks like I have the minorest of errors to fix.
| | 09:31 | My split polygon didn't
quite go in the right place.
| | 09:33 | I'll spin around and see if I need to fix
this in the back, but the back looks good.
| | 09:37 | Occasionally, this happens, and it's
worth seeing how to get out of a jam.
| | 09:41 | I'll press F9 for Vertex and under Edit
Mesh I'll choose the Merge Vertex tool.
| | 09:47 | What I am going to do is merge these
vertices together, stitching them closed,
| | 09:51 | making sure I have got one
vertex there at each corner.
| | 09:55 | Now I'm ready to add the seat in.
| | 09:57 | What I'll do is press F10
for Edge, W for Move, deselect.
| | 10:01 | I'll make sure that I
reselect and deselect my edges.
| | 10:05 | I'll pick this edge, hold
Shift, and pick the other one.
| | 10:07 | I am going to pull these down
slightly and then pull the middle one up.
| | 10:12 | This gives me just enough contour in
here to make it believable that the seat
| | 10:15 | has some contour going on.
It doesn't have to be huge.
| | 10:19 | As long as we have got some variation
off a flat seat, it looks pretty good.
| | 10:23 | If you'd like, you could come back and
split this polygon, quadding out this
| | 10:26 | mesh, but I am going to leave it alone for now.
| | 10:29 | It's going to triangulate when I bring
it over anyway. And so I am ready to start
| | 10:33 | unwrapping my chair.
| | 10:34 | There is one more thing I need to do. And
hopefully, you spotted it in the top too.
| | 10:39 | Those edges need to be softened.
| | 10:40 | I'll hold Shift and right-click
and choose Soften/Harden Edge.
| | 10:43 | I'll soften them all up and
come back and harden pieces.
| | 10:47 | My Viewport 2.0 is giving me
some interesting looking things.
| | 10:50 | I'll switch back to the High Quality
for this one, or over to the Default
| | 10:53 | Quality so I can see it better.
| | 10:55 | What I need to do is make sure that all
of the top is soft, all of these edges
| | 11:00 | stay hard and all of
these rings around are soft.
| | 11:03 | I'll press F11 for face, pick the
bottom face, hold Shift and right-click, and
| | 11:08 | harden it. Only that harden is not available.
I'll choose Normals > Harden Edge.
| | 11:13 | I'm going to do the same on the front,
holding Shift and double clicking to
| | 11:16 | select a face ring, picking G for repeat last.
| | 11:20 | I'll do the same on the side, and we
can see this geometry hardening up nicely.
| | 11:25 | Now I'll come back and pick
the top edges on my curve.
| | 11:28 | I'll pick one, hold Shift, and
double-click to end that selection.
| | 11:32 | It looks like I have got an issue here
and again what we are seeing is because I
| | 11:36 | have broken that edge flow, I
need to do some unique selection.
| | 11:39 | I'll harden them and harden these.
| | 11:41 | As we have seen previously, I always
want to work over my hard and soft edges,
| | 11:45 | making sure that things are exactly
hard or soft, not somewhere between.
| | 11:50 | There is my seat, and it looks pretty good,
and I can tell I have got some contour going on.
| | 11:55 | Without being excessive on the polygon
count, it's definitely not just flat.
| | 12:00 | I'm ready to start unwrapping.
| | 12:02 | I'll unwrap and then start to clone
things over, laying out elements on the
| | 12:05 | texture sheet and making the most
out of a small amount of wood grain.
| | Collapse this transcript |
| Blocking out the form of a round chair| 00:00 | In this video I'm going to start
on another chair to go with the chair
| | 00:03 | I have made previously.
| | 00:05 | Quite often in games, we
need lots of similar props.
| | 00:08 | As an example, we may walk into a
restaurant or cafe, and there are some of
| | 00:12 | these curvy balloon back chairs as
well as some of the ladder back chairs.
| | 00:16 | It's important to have a variety of
props even though they may share textures,
| | 00:20 | as we're going to do.
| | 00:21 | As we need to see the variation, we
tend to have, well, different stuff around.
| | 00:26 | It's not very often outside of maybe a
large corporate office, for example, that
| | 00:30 | we see exactly the same chair in so many rows.
| | 00:33 | So I'll make a curve chair and use it as
a way to explore curved forms for games.
| | 00:38 | What I'll start out with
is blocking out the seat.
| | 00:40 | It's basically a cylinder,
so it should go pretty quick.
| | 00:43 | Then I'll look at doing the back, and
I'll start this actually as a torus.
| | 00:47 | I'm going to use my existing bounding
box, and that way I have a template to
| | 00:51 | match in the size of the chairs.
| | 00:53 | I'll choose Display > Show >
Show Geometry > Polygon Surfaces.
| | 00:58 | I'll take my bounding box, duplicate
it by pressing Ctrl+D, and move it over.
| | 01:03 | I'll take the existing chair and hide
it temporarily, pressing Ctrl+H to hide.
| | 01:07 | There's the bounding box, and this
will work pretty well for at least getting
| | 01:10 | the volume established.
What I'll start out with is making the seat.
| | 01:14 | I'll press Shift and right-click
and put in a Poly Cylinder.
| | 01:16 | I'll drag one in and align it onto this box.
| | 01:22 | In my Align Tools I'm going to put it
on the center, it's already down on the
| | 01:26 | floor, and I'll put it forward.
| | 01:28 | I'll go into a Wireframe,
and there is that cylinder.
| | 01:31 | In the polyCylinder1 attributes then
I'm going to bring the Radius down to six
| | 01:36 | and the Height down to one.
| | 01:37 | I'll also bring the
Subdivisions Axis down to 16.
| | 01:40 | Yes, it is a round object, but there is
a good chance we're going to see it from
| | 01:44 | about here in a game.
| | 01:45 | Unless we happen to pick it up and
throw it or move it out of the way, we
| | 01:48 | probably won't take note of too many facets.
| | 01:52 | We tend to allow things like that in
games as we realize we just can't spend the
| | 01:56 | polys, and we can use them in other places.
| | 01:58 | So as long as it's close enough to
round, we'll be in pretty good shape.
| | 02:02 | I'll move this up, pressing and holding
V and D, snapping the pivot on any top
| | 02:06 | vertex, and pulling this up to my seat line.
| | 02:08 | Then I'll pull it up forward,
and I'm ready to get the back in.
| | 02:12 | For the back I'll go into a Front View.
I'll press F to focus and then zoom out.
| | 02:17 | If we look at the reference,
it's actually not a full circle.
| | 02:20 | There is a quarter round,
it's slightly flat on top, and another round.
| | 02:24 | The inset piece here is a separate object.
| | 02:27 | Then this whole back, once the
round straightens out, and actually it does
| | 02:31 | straighten out, it's bent in this shallow curve.
| | 02:34 | Really, the way to attack this is to
make the roundest form first, stretch it to
| | 02:39 | make the flat, extrude it down to
make the legs and bend the whole thing.
| | 02:44 | I'll start out with a Torus,
holding Shift and right-clicking, and
| | 02:46 | choosing Poly Torus.
| | 02:48 | I'll make a Poly Torus in here, dragging
one in, giving it a radius, and going to
| | 02:52 | the polyTorus1 attributes.
| | 02:54 | What I'll do is put the radius of this
at slightly bigger than the width of my
| | 02:58 | bounding box, let's say a Radius of
seven to really accent that balloon back.
| | 03:03 | I'll put the Section Radius at .625,
so it's an inch and a quarter across.
| | 03:09 | I'll come down here to the Subdivision
access, and I'll put it at 18. Here's why.
| | 03:14 | If we make the sides a multiple of two,
but not four, we end up with a flat spot.
| | 03:19 | And I know I need a flat
spot at the top of my chair.
| | 03:23 | What this will let me to do is, if
I need, stretch across the flat.
| | 03:27 | Down here I'm going to delete these
faces and extrude that equatorial edge
| | 03:30 | loop across, but up here I want to
bring in--or actually automatically have--the
| | 03:35 | flat spot at the top.
| | 03:37 | It looks in my estimate that this
might be a little thick, so I'll take that
| | 03:40 | Section Radius down while I still can to 0.5.
| | 03:43 | I'll pull this up and take
the Subdivisions Height down.
| | 03:47 | Because this is a round object,
it's actually fairly small in section.
| | 03:51 | I can reduce the Subdivisions Height down.
| | 03:54 | I'm going to put them in at
eight to economize on my polygons.
| | 03:57 | I'll make sure I come back and soften up
those edges, and it should smooth over nicely.
| | 04:02 | I'll press F11 and select the
bottom faces and delete them.
| | 04:05 | I'll press F10 for edge and zoom in
and double-click on the border edges I have
| | 04:09 | got left here, holding shift
and double clicking on both sides.
| | 04:13 | I'll hold Shift and right-click
and choose Extrude Edge.
| | 04:16 | I'll switch over to the world axis, zooming
out and clicking on the world axis toggle.
| | 04:22 | I'll press V for snap and snap
this extrusion down to the floor.
| | 04:25 | What I'll do is scroll down to the
extrusions, or use the caddie, and crank up the
| | 04:30 | number of divisions.
| | 04:31 | I'm going to put the divisions
on this extrusion up at eight.
| | 04:34 | I can always delete if I need, but
this will help me bend this whole piece.
| | 04:38 | I'll right-click and choose Object mode.
| | 04:41 | I'm ready to bend it, although I might want
to give this a little bit of a flare first.
| | 04:45 | Here's what I'll do.
I press F9 for Vertex and select these vertices.
| | 04:50 | In my Deformation shelf I'll apply a Bend,
and there is my Nonlinear Bend applied.
| | 04:55 | I'll go into the Bend and give
it a little bit of a curvature.
| | 04:59 | I'll put this number at
something I can transfer easily like 0.25.
| | 05:03 | I'll do the same on the other side,
picking the opposite vertices and bending them.
| | 05:08 | I'll put this curvature at 0.25 and
put a negative in front, so it goes in
| | 05:13 | the right direction.
| | 05:14 | Now I can take both of these pieces
and rotate them back, so I have got a
| | 05:17 | balloon that flares out.
| | 05:19 | I'll pick the whole object, right-click,
and make sure I pick Object mode.
| | 05:24 | With it selected I'll press Shift+Alt+D to
delete the history and get rid of the deformers.
| | 05:28 | Then I'll take these vertices,
pressing F9 again, pressing E for rotate, and
| | 05:33 | snapping that rotation over.
| | 05:35 | Alternately, I can put in a rotation here in
the relative transform type in. I'll put in 10.
| | 05:41 | That way that's an easy number I can remember.
| | 05:43 | I'll do the same in the
other side and put in -10.
| | 05:45 | Now I'll take these vertices, move their
pivot and snap them underneath the chair.
| | 05:51 | I'll snap them over on the X axis
and then do the other side.
| | 05:55 | I'll move their pivot, holding V and D,
snapping into place, then holding V
| | 05:59 | while I snap on the X axis onto
the inside of the last vertex.
| | 06:04 | I can then select both sides
of the legs and pull them down.
| | 06:07 | I'll make sure it sits on the
ground once I have got the bend in.
| | 06:10 | I'll right-click and pick Object mode,
I'll spin around in a Perspective View,
| | 06:14 | and there's my chair back, well, sort of so far.
Now I'm going to bend it.
| | 06:19 | I'll pick the Deformation,
Nonlinear Bend, and add a curvature.
| | 06:23 | The curve is going in the wrong direction.
| | 06:25 | What I will do is press E for
rotation, and rotate this bend.
| | 06:29 | I'll spin it around, and I can go into
the bend handle, and there's that rotation.
| | 06:33 | I'll put it in at 90, and
I'm bending my chair back.
| | 06:37 | I'll bring back the
curvature, so it's not as severe.
| | 06:39 | It is working nicely, it does need a
little bit of a taper in here, but I have got
| | 06:44 | the basic form of my chair evolving.
| | 06:46 | I'll pick Object mode and
select and then delete the history.
| | 06:50 | Now what I need to do is to taper in
these legs, but I have got that chair form
| | 06:54 | emerging very nicely.
| | 06:55 | I'll put in a Nonlinear Flare. And what this
lets me do is flare in, or taper, the top or bottom.
| | 07:01 | I'll go into the flare, and there
is a Start and End Flare X and Z.
| | 07:05 | It looks like it's the Start Flare X
that I need to bring in just a little bit.
| | 07:09 | I'll pull this down and
pull down the Z just a touch.
| | 07:12 | There is that bent chair, and
it's within my bounding box roughly.
| | 07:16 | It should flare out, or
splay out, just a little bit.
| | 07:19 | I'll pick this one more time, press
F8 for Object, and delete the history.
| | 07:23 | I'm ready to do the same thing on the
front legs and move this into the right
| | 07:28 | place for my curved balloon frame chair.
| | 07:30 | It looks like I can pull the seat down
a little bit and bend some cylinders for
| | 07:34 | the front. Then I'll put the hoop in
as a torus and my chair will be ready.
| | Collapse this transcript |
| Adding detail and softening the edges of a round chair| 00:00 | I have got the curved chair roughly modeled.
| | 00:02 | I have added in the front legs using another
bend and a taper to get them tapered and bent.
| | 00:08 | I have also added in a torus, and I have
taken a little time to size this, working
| | 00:12 | with the radius and its position back and
forth in the chair to get it in the right place.
| | 00:17 | I have bent this back a little bit more
and used the curve as part of the nonlinear
| | 00:20 | flare to make sure those legs curve.
| | 00:23 | I feel it's coming along pretty nicely,
and I'm ready to work over softening
| | 00:26 | some edges and adding a little more detail.
First, I'm going to add some detail to the top.
| | 00:32 | I don't mind if the edges here are very
straight, because adding in extra faces
| | 00:36 | around here would give me
a lot of extra geometry.
| | 00:38 | However, I am going to add in the
seat because it is not necessarily a huge
| | 00:43 | amount of silhouette, but it's
noticeably, well there. It does tend to stick up.
| | 00:47 | I'll press F9, pick the top center
vertex, hold Ctrl and press F11 and convert
| | 00:53 | that selection to faces.
| | 00:54 | Now I'll hold Shift and right-click
and choose Extrude Face.
| | 00:58 | On the Extrusion tool I'll hold Ctrl
and scale on the blue Z axis, which scales
| | 01:02 | the X and Y together proportionally.
I'll pull this in and hit G to repeat last.
| | 01:08 | I'll scale this up just a little bit,
adding a little bit of height in for that seat.
| | 01:13 | The seat is pretty good, and I have got
just an extra step there that gives it a
| | 01:17 | less than perfect cylinder appearance.
| | 01:19 | Now for the softening edges. On
this back leg I started out with eight
| | 01:24 | subdivisions around it.
| | 01:26 | And it's obviously got some facets
because the original torus showed the facets
| | 01:30 | and the hard and soft edges have propagated.
| | 01:32 | I'll pick it, hold Shift and right-click,
and choose Soften/Harden Edge > Soften Edge.
| | 01:37 | I'm fine with a whole thing being soft here.
| | 01:39 | I'll go down to the bottom
though and close up those edges.
| | 01:43 | I'll press F10 for Edge, double-click
on my border edges, pick one, hold Shift,
| | 01:49 | double-click on the other, and hold
Shift and right-click, and pick Fill Hole.
| | 01:53 | I can take these and rotate them down
so it sits flat on the floor, but I'll
| | 01:56 | check the reference and
see if that's actually true.
| | 01:59 | It looks like they do need to sit flat,
so this is a small detail I'll make
| | 02:02 | sure I take care of.
| | 02:03 | I'll go over into a Side View, turn
off my Grid, and rotate these down.
| | 02:09 | I'll make sure I'm rotating here by
the local axis pressing and holding E and
| | 02:13 | left clicking anywhere.
| | 02:14 | I'll see how this works if I rotate
down on the X axis, and then I'll spin
| | 02:18 | around and pull them down on the Z.
| | 02:21 | As I rotate on the Z, I get
some interesting issues here.
| | 02:25 | What I should probably do then is
rotate them one at a time on the Z using
| | 02:28 | the Discrete Rotate.
| | 02:29 | I'll work by face in this case, picking
this bottom face and rotating it.
| | 02:34 | Now here's another option, I can press
R for Scale and up here in the relative
| | 02:39 | Menu Line Input I'll put in 0 on the Y.
It takes that face and flattens it out.
| | 02:45 | I'll do the same on the other leg,
selecting it, and scaling it to 0 on the Y.
| | 02:49 | Now I realize that suddenly the chair's
feet have run away from the floor, but
| | 02:53 | I'm going to fix that.
| | 02:54 | I'll pick both faces, or select
their vertices, and move them down.
| | 02:59 | Really what I have done here, by scaling
down to 0 on one axis for a component
| | 03:04 | is flattened it out.
| | 03:05 | When I take these, and I'll pull them
down, and I'll snap them to the bottoms of
| | 03:09 | the other legs, this chair will sit flat.
| | 03:11 | I'll pull these back to make sure that
curve matches, and there's those flat feet.
| | 03:17 | I'll make sure I look over the other
legs, picking both of them, holding Shift
| | 03:20 | and right-clicking, and softening their edges.
| | 03:23 | Then I'll come back and look at the bottoms,
and I need to harden up those feet as well.
| | 03:28 | I'll pick those bottom faces and harden them.
| | 03:31 | In this case I'm going to work by
vertex, picking one, holding Ctrl, and pressing
| | 03:36 | F11 converting to face, and then
under Normals choosing Harden Edge.
| | 03:41 | I'll do the same on the other leg.
| | 03:43 | I want to see this complete before I unwrap
it just to make sure that the form looks right.
| | 03:47 | What I'll do then is to unwrap
one leg here and then clone it over.
| | 03:52 | I'll a make sure also on this leg
that it sits in the right place.
| | 03:55 | It looks like these could just snug in
a little bit more to make sure they're
| | 03:59 | not lapping over the top.
| | 04:00 | I'll press and hold W and
switch over to the Object axis.
| | 04:03 | I'll put in just a little bit on
the X axis until it looks good.
| | 04:07 | I'm eyeballing these in, knowing that
I'm moving them not exactly the same.
| | 04:12 | But as long as it looks right I can
delete one and clone the other based on the
| | 04:16 | center of the top here.
| | 04:18 | I'll make sure I pick one or both of
them. I'm not sure which one I'm going to
| | 04:21 | use press F11 for face and
select and delete those top faces.
| | 04:26 | I can tell they're selected even
though I can't see them because the
| | 04:28 | transform is still there.
| | 04:30 | I'll press Delete, F8 for Object, and
I'm ready to do the softening of the edges
| | 04:35 | on the torus down here.
| | 04:36 | In this case I can soften the whole
thing choosing Soften/Harden Edge > Soften
| | 04:40 | Edge, and being done.
| | 04:42 | It's a round form that's entirely
round with no flat areas and needs to look
| | 04:47 | round from any angle.
| | 04:48 | So I'll just soften up all of its
edges, and there is my curved chair.
| | 04:52 | I can use the same process to put
the same back in, or I can say it got
| | 04:56 | broken off at some point.
| | 04:57 | That might be kind of nice if this is going to
be debris as matching in with my rusty tools.
| | 05:02 | I'm ready to unwrap this
as part of a texture sheet.
| | 05:05 | It's important that you work over hard
and soft edges and consider how you're
| | 05:08 | going to unwrap and clone
this before you unwrap it.
| | 05:12 | Some careful planning will let even a
curved form like this work out very nicely
| | 05:16 | and give you the variation in
your scene you should expect to see.
| | Collapse this transcript |
| Unwrapping as part of building a texture sheet for furniture| 00:00 | In this video I'll take both of my
chairs and look at unwrapping their elements
| | 00:04 | and starting to lay them out on a text or sheet.
| | 00:06 | I have got some work to do in terms of
unwrapping, and I also know that I'm going
| | 00:10 | to delete some of the objects, unwrap a
single, and then clone them. Such as the
| | 00:14 | three rungs on the ladder
at the back of this chair.
| | 00:17 | What I'll do is to strip this down a little bit.
| | 00:20 | I'll pick one of each piece that's
symmetric and delete it, so I have got a clear
| | 00:24 | picture of all the parts I need to unwrap.
| | 00:26 | I know on this chair, the ladder back
chair, that I'm going to mirror over the
| | 00:30 | legs, and I'll also be dealing
with only one of those rungs.
| | 00:35 | I only have one side, one front, and one
back skirt, one stretcher, one of each
| | 00:39 | leg, the top, bottom, and seat.
| | 00:41 | On this chair then I am going
to delete one of those legs.
| | 00:44 | The other parts are all fairly unique.
Now I'll look at unwrapping methods.
| | 00:48 | This is going to get interesting
as we are dealing in curved pieces.
| | 00:53 | I'll start with the straight
ones and see how those work.
| | 00:55 | What I will do is to get some
unwrapped checkers on, selecting both chairs,
| | 00:59 | right-clicking, choosing Assign New
Material and putting a Blinn on there.
| | 01:03 | In this Blinn, in the color texture,
I will put in my 1024 square checkers,
| | 01:08 | by clicking on File.
| | 01:09 | In the file dialog, I will scroll
down, pick the yellow file folder and
| | 01:13 | pick 1024 template.
| | 01:14 | I will press 6 to show that in the view, and
I can see where I have got some distortion.
| | 01:19 | Here is the fun thing when unwrapping wood.
| | 01:21 | We want to make sure that the wood
grain wraps around that piece, so I can use
| | 01:25 | the cylindrical mapping
even for the boxy elements.
| | 01:28 | What I will do, as an example, is pick
this leg first. I'll make sure I go in and
| | 01:33 | delete the top face, and I have just
got the bottom and sides to deal with.
| | 01:36 | I will press F11, select the top,
deselect that, and it is still there.
| | 01:42 | Now that's deleted, and it's open.
| | 01:45 | It's always a good idea to
economize in your faces before unwrapping.
| | 01:48 | Although we can always delete, and it will
simply not be there as part of the unwrap.
| | 01:52 | I'll choose Create UVs > Cylindrical Mapping.
| | 01:55 | The first thing I'll do is I'll take
these horizontal sweep nodes in red and
| | 01:59 | spread them all the way around, that
way this tiles once around this object.
| | 02:03 | It is working nicely, my squares are
not square, but I can deal with that by
| | 02:07 | playing with the projection height.
| | 02:09 | If I make the projection height bigger
or smaller, I can see those change.
| | 02:13 | What I will do is actually just
scroll this back and the default projection
| | 02:17 | height, once I start to
scroll actually maxes out at 2.121.
| | 02:22 | I can put in a Height on this, let's
say 3, and try a few things to get it
| | 02:26 | a little bit bigger.
| | 02:27 | Really, I don't care how big the
squares are, but rather that they are square.
| | 02:31 | There is my unwrap, and I
can see it tiling around.
| | 02:34 | More importantly, if I scroll around this
I can see, right here, where that seam is.
| | 02:39 | What I'm going to do is to rotate this.
| | 02:41 | I will press 4 for a Wireframe, and
there is a red T for transform, as part of
| | 02:46 | this unwrapping cylinder.
| | 02:48 | I'll click on it and then press 6
to switch back to Shaded+Textures.
| | 02:52 | Now I am going to rotate this cylinder
gizmo by clicking on the rotation ring
| | 02:57 | here on the outside.
| | 02:58 | I'll spin this around making sure that the
Red Green division lands right on the corner.
| | 03:03 | Here's what it looks like
in the UV Texture Editor.
| | 03:05 | This edge corresponds with this edge,
and what this means is that there is a
| | 03:10 | natural texture break as this piece of
wood is shown on two different sides,
| | 03:14 | even though it's one piece of wood.
| | 03:16 | It's a great place to put a texture
break like this as part of an unwrap,
| | 03:20 | because the likelihood of us picking up
the chair and looking underneath just to
| | 03:24 | see how the wood grain
matches across the corner is small.
| | 03:27 | More than likely were going to see is
actually the outside of the chair, and I
| | 03:31 | want to see that the wood
grain flows around cleanly.
| | 03:33 | I will go through and hit any objects I
can like this, using cylindrical unwraps
| | 03:38 | and spinning them around to get the
wood grain to flow around all of these
| | 03:41 | rectangular elements.
| | 03:43 | The top will get a similar treatment.
| | 03:45 | What I will do for the top though is
unwrap a little bit of it with an automatic.
| | 03:50 | The bottom, I can almost
ignore, I will unwrap it separate.
| | 03:53 | What I'm going to do is pick the top faces.
| | 03:56 | I will hold Shift and hit the period for
greater than, or grow the selection, and
| | 04:02 | then I'll choose Create UVs > Automatic Mapping.
| | 04:04 | I will go into my Texture
Editor and see what I have got.
| | 04:07 | I will turn off the image,
and there is my automatic map.
| | 04:11 | What I am going to do is say that at
the corner it's okay to have a break, and
| | 04:16 | if I can camouflage it with some kind
of wood grain, it will look pretty good.
| | 04:20 | The big deal is that the wood grain
flows down the seat and off the edge, and
| | 04:24 | that the wood grain going up
this way flows around the side.
| | 04:28 | I'll right-click and choose edge, press W
for move, and pick one of the side edges.
| | 04:33 | I'll choose Polygons and Move and Sew.
| | 04:35 | I am going to repeat this around,
moving and sewing this front and back.
| | 04:39 | I'll take all five edges of the
front of the seat and sew them as well.
| | 04:44 | Now I'll do the back here, and
it's very quick to sew this together.
| | 04:48 | It's working nicely, and I have a few
extra pieces standing out here, which are
| | 04:51 | really the underside and the back.
| | 04:53 | The big deal though is that I have got
all the elements in the right place.
| | 04:57 | I'll just check by selecting that
edge, and it looks like one of these is
| | 05:01 | actually one of the small pieces on the side.
| | 05:04 | I will sew it over, and then I'll
have to go in and scale down these UVs.
| | 05:08 | We can see I have introduced a little
bit of distortion by sewing a piece that
| | 05:12 | was unevenly unwrapped.
| | 05:13 | I'll right-click and
press UV and press W for move.
| | 05:16 | I'll pick these two UVs, and then I will
scale them in, pressing R for Scale and
| | 05:21 | scaling them down, so this
comes back to nearly rectangular.
| | 05:25 | I will do the same with this part.
| | 05:27 | My general philosophy in unwrapping
is I want to work on the biggest pieces
| | 05:31 | possible first, and it is only when I
get to places I have to, like this, that
| | 05:36 | I'm going to take these UVs and
scale them and move them around.
| | 05:40 | I will repeat this on the other side.
| | 05:42 | I'll right-click and pick edge, select
that Edge, Move and Sew pressing F12 for
| | 05:48 | UV, W for Move to use as a
selection tool, selecting and scaling.
| | 05:53 | I'm doing the same thing I have done in
previous videos, where I am selecting
| | 05:56 | elements and unwrapping them.
| | 05:58 | The big deal in the unwrap as we have seen
is to get the objects flat first, don't
| | 06:03 | worry about the size yet, but make sure
they are flat, and that the squares are
| | 06:06 | square, that the objects are
unwrapped proportionally to avoid distortion.
| | 06:10 | Then you can start to stack
them as part of a Text or Sheet.
| | 06:13 | I'm going to take a sec and finish unwrapping.
| | 06:17 | I have gone through an unwrapped all the
different elements of my ladder back chair.
| | 06:21 | I have got one of everything,
and I am ready to mirror.
| | 06:24 | In this case I don't really care yet
what size the elements are, as much as that
| | 06:28 | they are unwrapped proportionally, that
I have got rid of distortion, and I have
| | 06:32 | camouflaged the scenes wherever
possible on the inside of things like the legs.
| | 06:35 | Over here on the side, hopefully I
won't see too much of that transition, and I
| | 06:39 | will see if I need to do any moving and sewing.
| | 06:42 | I haven't arranged things
yet on a Text or Sheet.
| | 06:44 | I'm going to get the elements of
my round chair unwrapped as well.
| | 06:47 | Objects start out inherently with UVs.
| | 06:50 | If I choose the Texture Editor, I can
see I have got UVs already on the leg,
| | 06:54 | however, I'm a little distorted.
| | 06:56 | What I could do is take this and
simply scale it out, and try using it as is.
| | 07:01 | The torus actually is a great example of that.
| | 07:03 | It's small enough that reasonably if I
simply use those UVs as they exist, I'll
| | 07:08 | get wood grain along it.
| | 07:09 | So I am going to leave this alone and maybe
just scale it out if the grain looks too compact.
| | 07:14 | The leg doesn't look too bad, the UVs
do flow nicely along here, although I have
| | 07:18 | got some distortion.
| | 07:19 | What I will do on this is to right-click
and pick UV, and I can see where I have
| | 07:23 | got some minor distortion issues.
| | 07:25 | I'll take these and start to stretch
them back out, pressing W for move, and I
| | 07:30 | will pull these around.
| | 07:31 | I can stretch these back
in, pulling out those UVs.
| | 07:35 | As I do this I can see the squares are
coming back to square, and if I do this
| | 07:39 | enough, we will get the
distortion out of these elements.
| | 07:42 | They are actually really long and
skinny, so I am going to need to stretch
| | 07:46 | them pretty considerably, and it's really fine
to do this to get things unwrapped correctly.
| | 07:51 | What I'm seeing here is that I'm
stretching each line, and it's starting to
| | 07:55 | come back to square.
| | 07:56 | It's working nicely as we can see
those UVs piling in, we'll call it.
| | 08:00 | This is basically the
reverse of a cylindrical unwrap.
| | 08:03 | And what I'm looking for is really
that the squares are pretty well square
| | 08:06 | and flow down here.
| | 08:08 | I'll take this element, select it with a
Move Shell tool, and pull it off to the side.
| | 08:12 | This foot can also stay as it is.
| | 08:14 | It is going to be pretty small, so as long
as it has wood grain on it, it will be okay.
| | 08:20 | For this seat, I will hit it in two parts.
| | 08:22 | I will press F10 for Edge and pick
one of the edges of the seat. I'll hold
| | 08:26 | Ctrl+Right-click, choose Edge
Ring Utilities to Edge Ring.
| | 08:29 | Then I will press Ctrl+F11, and
there is a face ring selection.
| | 08:32 | I will hit this with the Cylindrical
Unwrap, and I'll take these red horizontal
| | 08:37 | sweep nodes and pull them around.
| | 08:39 | There is the unwrap on that seat and
within the Cylindrical Mapping tool I can
| | 08:43 | scale it right here in the editor.
| | 08:45 | I'll scale these down because it is a
long skinny strip, until those squares are
| | 08:49 | back to square, then I will
move this off to this side.
| | 08:52 | The top and bottom need a little bit of help.
The bottom, we are almost not going to see.
| | 08:57 | So I am going to leave it
alone, but I may shrink it.
| | 09:00 | The top however needs
just a little bit of mapping.
| | 09:03 | What I will do is press F9 for Vertex
and pick the top center vertex, holding
| | 09:07 | Ctrl+ F11, converts that selection to faces.
| | 09:10 | Pressing Shift+ Greater than, grows that
selection, and there's that whole top.
| | 09:14 | I will choose Create UVs > Planar Mapping.
| | 09:17 | In my Planar Mapping I will take the
Width and copy it over to the Height 12x12.
| | 09:23 | I'll rotate this down 90
degrees, and there is that mapping.
| | 09:26 | What I can do if I need, aside from
flipping it around, is to stretch out the
| | 09:30 | UVs, as I'm smashing down right there.
I'll pick the shell, move it over.
| | 09:35 | What I am going to do in here is to
select the shell border, picking the shell
| | 09:39 | with the Move Shell tool and choosing
Select > Select Shell Border, that selects
| | 09:44 | just those border vertices.
I will press R for scale and pull them out.
| | 09:49 | I have given myself a little bit of extra
room because what I would like to do is
| | 09:53 | double-click on the edge loop down
here in the corner, convert that selection
| | 09:56 | over to UVs, which are now coincident with
the others right there and scale them out.
| | 10:01 | I will scale them out
uniformly and bring that width back.
| | 10:05 | I'll flip these around, selecting
it and choosing Polygons > Flip.
| | 10:09 | Now my UVs flow seamlessly over, and
I'm ready to paint a seat on if needed.
| | 10:14 | I am going to unwrap the back,
taking it piece by piece.
| | 10:17 | We have got a couple of different
things we can do here, one of which would be
| | 10:22 | to do an automatic and
just splinter it like crazy.
| | 10:24 | Assuming that it's going to be a
jointed piece of wood, and we can camouflage
| | 10:27 | along here seams in the wood decently.
| | 10:30 | I will press F11 for face and
select faces halfway up the leg.
| | 10:34 | I'll hold Ctrl then and make sure I
deselect that bottom face, that foot.
| | 10:39 | Now I will try a cylindrical unwrap on it,
choosing Create UVs > Cylindrical Mapping.
| | 10:44 | I'll wrap the horizontal sweep
nodes around and then click on the T to
| | 10:47 | rotate that mapping.
| | 10:49 | I'll rotate it over on the Z axis
until it aligns a little better, and I will
| | 10:53 | check it out in the Editor.
| | 10:54 | There is that mapping,
and it's starting to work.
| | 10:57 | With the cylindrical mapping rotated
over, it's decent, but not optimal. As I can
| | 11:01 | see, I have got some overlap in the faces.
| | 11:03 | If I flip these around, I
still get some odd issues.
| | 11:06 | What I'll do his unwrap them the best I
can, and see if I can get this to work.
| | 11:11 | Here is the trick though.
| | 11:12 | It's a small piece, and as long as the
wood grain travels up it, we can kind of
| | 11:16 | stack UVs and they can be fairly messy.
| | 11:19 | If we really had to unwrap this,
we could actually dissect it piece by piece.
| | 11:22 | But what I will do here is hit this with
a bunch of cylindrical mapping, working
| | 11:27 | my way up and essentially making joints.
| | 11:30 | These could be finger jointed
ideally, if we are into our woodworking.
| | 11:33 | But really as long as they have got
grain going up them, they will be okay.
| | 11:37 | I'll finish this and show
what it looks like when I'm done.
| | 11:40 | I have finished some unwrapping and
although it looks messy, I think the wood
| | 11:43 | grain will come out okay.
| | 11:45 | This is one of those places where at
some point we have got to bite the bullet and
| | 11:49 | say yes, it's going to be a messy
unwrap. Barring an external program like
| | 11:53 | headus, or UV layout,
which simply splits it open.
| | 11:56 | Alternately we can just hit it with a
solid color and be done, but I am going
| | 12:00 | to try and use this.
| | 12:01 | This large block here is the
original remnant of my torus.
| | 12:04 | I am going to pick my shells and
start to get them just aligned.
| | 12:08 | The big deal really is that they are
roughly aligned on vertical that when I
| | 12:11 | get the wood grain in, and I will
press E for Rotate to do this one, that it
| | 12:15 | goes fairly vertically.
I'll pick shells and get them in and stacked.
| | 12:20 | What I'm also banking on here is that
it's well, small, and as long as there is
| | 12:24 | stuff going on that's not obviously
completely crossing, it should look okay.
| | 12:29 | I have got a few less elements left out over
here that I will drag and place and rotate.
| | 12:33 | Now with my chair ready, I
can start to stack my UVs.
| | 12:38 | Here's how this looks.
| | 12:39 | I'm going to assume I have got a large
section of wood grain going, and it's
| | 12:43 | going to be fairly
tillable, at least side to side.
| | 12:46 | I'll take all of these
chair UVs and scale them down.
| | 12:49 | The smaller they are the less
wood grain it's going to show.
| | 12:53 | I'll do the same over here and scale this in.
| | 12:56 | I want to try to get the pieces that are
on the same places matched in, in size.
| | 13:01 | Here's this torus, and again it's
fairly small, so it doesn't need much grain as
| | 13:05 | long as it's got, what looks
like the right color and structure.
| | 13:08 | I'll scale it down, and I
am going to stack my UVs.
| | 13:11 | I will do the same with this element,
taking these pieces and stacking them in.
| | 13:15 | In this case, the big deal is simply
making sure that the wood grain is in the
| | 13:18 | right direction, rotating this
assuming my wood grain will be vertical, and
| | 13:23 | scaling it in so that the
UVs don't touch the border.
| | 13:26 | The bottom can be really wherever it is
it's fairly small and so as long as it's
| | 13:31 | got wood grain in case I have a
reflection going I'll be in good shape.
| | 13:34 | The top is one of the biggest
elements and so I am going to let it have a
| | 13:38 | little bit of size here.
| | 13:40 | I'm going to let the wood grain
simply flow across and assume it's dark
| | 13:43 | enough that it will work.
| | 13:44 | If I have room for a separate
texture for this. I'll add it in.
| | 13:48 | I'll do the same here with my other
chair, taking all of these disparate
| | 13:51 | elements, which are already stacked, and
scale them to fit in that 0 to 1 space.
| | 13:55 | Stacking them up and making sure that
they're ready in the right direction to
| | 13:59 | get the wood grain going.
| | 14:00 | The way you can tell you are doing it
right is if it's all set so that the wood
| | 14:05 | grain flows vertically along
the long direction of each piece.
| | 14:07 | The way you can notice if something is
not working, as an example, is with a tall
| | 14:11 | piece like the side of the chair
here, the wood grain going sideways.
| | 14:15 | That's a big clue that somebody
didn't take the time in the unwrap.
| | 14:19 | So I am going to make sure in my
Texture Editor as I'm straightening out
| | 14:23 | these pieces that this long piece
will have grain vertically along it.
| | 14:26 | And then any minor mismatch in the grain should
disappear as the wood grain will camouflage it.
| | 14:31 | I'll finish the unwrapping, and
then I'll start modeling a table to go
| | 14:34 | along with these chairs.
| | Collapse this transcript |
| Planning the modeling of a table| 00:00 | In this video I'll look at
modeling a table to go with my chairs.
| | 00:04 | I have picked out a couple of
different table references.
| | 00:06 | This is more of a farmhouse table
with trestle legs and exposed rivets.
| | 00:11 | In this case, we have got smaller cafe
tables, and we may need a mixture of both in
| | 00:15 | our scene, depending on
how much we're going to see.
| | 00:18 | I'm going to start out with the farmhouse
table, and maybe it will be tipped on its side.
| | 00:22 | What I need to look at a table like
this is it's fairly high up, we're still
| | 00:26 | going to be at least a
meter above it and looking down.
| | 00:29 | So there's a good chance we're only
going to see part of it at the time.
| | 00:33 | In this case, the photo is actually shot
lower than standing height, and we can
| | 00:37 | tell by the height of the chairs
relative to the midpoint of the view.
| | 00:40 | The big deal in a table like this is also to
assess the form and the key design details.
| | 00:45 | As with anything, we need to
look at how it's made in real life.
| | 00:48 | The real world will scream at you how to
make the virtual, if you're willing to listen.
| | 00:52 | On this table there's a plank top,
which is probably made of multiple planks.
| | 00:57 | It gives us an opportunity to add some
dirt and wear, and also maybe splits if
| | 01:01 | we model it in pieces.
| | 01:03 | There are the trestles here, and there's some
kind of joinery going on right in the middle.
| | 01:07 | We can't necessarily tell, but we can
definitely see down here there is some
| | 01:11 | expose fastenings going on
where the legs and stretchers meet.
| | 01:15 | This table is also round on the corners,
and at least here on the top we need to
| | 01:19 | make sure that we bevel, probably
unevenly, some of the corners, so it shows up
| | 01:23 | correctly and isn't perfect in the view.
| | 01:25 | There is a good chance we may want--
and especially if you're running around,
| | 01:29 | let's say an abandoned place, or one
needing a little help--that we might see the
| | 01:33 | underside in the table.
| | 01:34 | So we need to make sure that as part
of the unwrap, we treat the table boards
| | 01:38 | equally from top and bottom.
| | 01:40 | These tables are a different example, in
that they're painted below the tabletop.
| | 01:44 | The tabletops also look a little more
solid. They're multiple boards, but they
| | 01:48 | might be in better shape.
| | 01:50 | We can choose to break them if we need,
but really we need to look at the key
| | 01:53 | design details here on the legs.
| | 01:55 | The legs themselves have some kind of
fluting, or riveting, up at the side.
| | 02:00 | There is also a skirt and a separate
board below giving us a very prominent
| | 02:04 | slit in the silhouette.
| | 02:06 | We can see through it, and so we
need to make sure that shows up there.
| | 02:09 | The top is rounded, and it's
also got a nice edge detail.
| | 02:12 | At least if we get some beveling going
on, we can make this look pretty good.
| | 02:17 | This table is actually softly rounded
in a lot of parts, and so acknowledging
| | 02:21 | the design details as usual,
will get us a better model.
| | 02:24 | To begin with the table then we can
start out with the largest piece, which
| | 02:28 | in both of them is the top.
| | 02:29 | For the trestle table, this top
reasonably might be 3 feet across and 6 feet long.
| | 02:35 | It's going to sit up probably 29 or 30
inches off the floor, and so we can start
| | 02:39 | with a few boxes to make the
top and add some boards into it.
| | 02:43 | Then we'll make the biggest
elements that joint these bars underneath,
| | 02:47 | and finally, we'll get into the legs and
then when the legs are in, then the stretchers.
| | 02:52 | It's also important on a piece
like this to build it in pieces.
| | 02:55 | As we have seen with the chairs, it's
very difficult to take a block and sculpt
| | 02:59 | the chair out of it.
| | 03:00 | It's much easier to take boxes and
assemble it, much the way we build up a
| | 03:03 | real chair from pieces in the real world.
| | 03:06 | So we'll get started in modeling,
beginning with the top and blocking out the
| | 03:10 | form of our table, then
refining and adding in details.
| | Collapse this transcript |
| Blocking out the basic table form| 00:00 | I'm ready to start blocking out my
table form, and I'll begin with the top
| | 00:03 | of the trestle table.
| | 00:05 | I'm going to work in the same scene,
it's very likely I'll work in one scene
| | 00:09 | for a lot of props and then export
them separately so I can bring them into
| | 00:12 | Unity and place them.
| | 00:13 | I'll hold Shift and right-click
and make a polyCube.
| | 00:16 | I'll drag out a box for the top here.
| | 00:19 | I'd estimated that this top is easily 36
wide, probably 2 inches thick, and 6 feet long.
| | 00:26 | I can always make variations on this.
| | 00:28 | We might need let's say a square table,
a round version, and a long rectangular.
| | 00:32 | And once we have got it blocked out
it's pretty straightforward to add to it.
| | 00:36 | What I will do is instead of making
this whole top all at once, I'm going
| | 00:40 | to make some boards.
| | 00:41 | My thought is I'd like to add a little
bit of wear and tear, that some of the
| | 00:46 | boards of lifted gently so it's
not a perfect slab for the top.
| | 00:49 | Instead of a width of 36--which I'll
remember that number so when I clone I can
| | 00:53 | check--I'm going to make the width 6.
This way I end up with 6 boards across.
| | 00:58 | I'll press Ctrl+D to duplicate, W for
move, and move on the relative transform by 6.
| | 01:05 | I'll press Shift+D to duplicate four more times.
| | 01:08 | When I turn on the Wireframe on
shaded I can see I have got six 6 inch boards
| | 01:12 | giving me the right size.
| | 01:14 | Now what I can do on this is to tweak
these slightly, but I'll make sure I
| | 01:18 | unwrap them first, before I tweak it.
| | 01:21 | This is going to give me the
opportunity to maybe lift up a board or insert
| | 01:25 | a crack in the table.
I'll get these up at the right height.
| | 01:28 | I know these are 2 inches thick overall,
so what I can do is select them and use
| | 01:32 | the Absolute Transform and put
their Y height at, let's say, 28.
| | 01:37 | This puts the top of the table at 29 and
the bottom at 27, that's pretty typical
| | 01:41 | for dining tables, somewhere
between 28 and 30 inches off the floor.
| | 01:45 | It's a comfy height to sit at.
| | 01:47 | Knowing that objects have their center
in the center allows me to do absolute
| | 01:50 | transformations like this, and as a
quick check if I look over at my chairs it
| | 01:54 | looks like roughly the right height.
| | 01:56 | I can always lower it if need be, and I also
need to make sure my chairs are in fact zero.
| | 02:01 | I'm ready to block in the rest of it.
| | 02:02 | What I'll do is add in the
main stringers underneath.
| | 02:07 | I'll start out with a new polyCube,
holding Shift+Right-clicking choosing polyCube.
| | 02:11 | I'm going to spin over to a more
vertical view first, and press 4 for wireframe.
| | 02:16 | I'll hold V for snap and snap this
polyCube all the way under my table,
| | 02:21 | dragging up for the Height.
| | 02:22 | I'll look back at the reference and
see how big this element needs to be.
| | 02:26 | This is a pretty large piece, and it
actually sticks out from the top just a little bit.
| | 02:30 | We can see it right here where this is
proud, meaning it sticks out by, call it, a
| | 02:35 | half inch or a quarter inch, and
it's got a little bit of a curve there.
| | 02:39 | That tells me a bit about
the modeling and the size.
| | 02:41 | I'll put the height at five and a half.
| | 02:44 | I'll bring the depth down to, let's say,
three and a half, so it's still fairly
| | 02:48 | substantial and make the width 37.
That's going to let it stick out from that
| | 02:52 | corner a little bit.
| | 02:53 | Finally, on the Subdivisions
Height, I'm going to put in 3.
| | 02:58 | I'll use these three on the bottom
third, adding in a subtle curve.
| | 03:01 | What I'll do is use my Align tool and snap
this onto the bottom of one of my planks.
| | 03:07 | In the Align tool I'll spin
around until I can see it.
| | 03:09 | I may need to zoom in and spin around there.
| | 03:12 | There is the tool, and
I'll put it to the bottom.
| | 03:14 | It's already on the table in
the right place side to side.
| | 03:17 | Once I have got it modeled I'll put
it in the right place end to end.
| | 03:21 | I'm blocking out the basic form, and
what I'm going to do to add this curve in
| | 03:25 | is to scale edge loops.
| | 03:27 | First, I'll press F10 for edge and pick
the edge loops on the bottom of my stringer.
| | 03:33 | I'll press R for scale and scale them down.
| | 03:36 | I need to have a straight part and then
the curve, so by scaling them down I can
| | 03:40 | move them down here and start to pull them in.
| | 03:43 | It's a very subtle curve and so really
this top one is going to hold the edge
| | 03:47 | of the straight part.
| | 03:49 | I'll double-click on the next one, press
R for scale, and scale it on the X axis.
| | 03:54 | Then finally I'll pick the bottom two edges.
| | 03:57 | This is not really an edge loop here in
the bottom of this box, as there is no
| | 04:02 | clear flow from the short edge to
the long side, or the short side.
| | 04:05 | So by picking either both long edges
or both short edges and scaling them, I
| | 04:10 | can scale that face.
There is that curve.
| | 04:13 | It's subtle enough that when we stand back
it's a curve without spending too many faces.
| | 04:17 | If we end up doing a custom normal map,
we can make sure that this table is
| | 04:21 | beveled on the corners.
| | 04:22 | But for now, I can come back here
and simply harden up some edges.
| | 04:26 | I'll double-click on the middle edge loop,
hold Shift and right-click and harden that edge.
| | 04:31 | There is the stringer, and I'll turn off my
Wireframe on shaded, and it looks pretty good.
| | 04:35 | In the next video I'll put it in the
right place and start to add in the legs,
| | 04:39 | fleshing out the rest of my table.
| | Collapse this transcript |
| Adding legs to the table| 00:00 | In this video I will add
legs on my trestle table.
| | 00:03 | Then I'll get the leg assembly in the
right place so I can put in the skirts
| | 00:06 | and bottom stretcher.
| | 00:08 | I'll go back and check the reference,
and make sure I'm in the right place.
| | 00:11 | I can see that the legs are diagonal.
What actually happens is that wood is
| | 00:15 | rotated and then cut at an angle here.
| | 00:18 | I need to make sure I have got that angle in,
which looks like probably 10 degrees or so.
| | 00:22 | My key marker is really here, where
the outside corner of this leg appears to
| | 00:27 | line up with the bottom corner of that arc.
| | 00:30 | It looks like it comes in probably the
same distance across as the leg is wide.
| | 00:35 | Assuming that this leg is the same
width as my top stringer, and this is
| | 00:39 | probably a little bit bigger.
| | 00:41 | The leg probably comes out to 3.5x4
that seems like a good dimension, so I will
| | 00:46 | try it out and see if it works.
| | 00:48 | Here in Maya I'll start out with a
box, holding Shift and right-clicking
| | 00:52 | and choosing Poly Cube.
| | 00:53 | I'll make a new cube and then get
the dimensions right in polyCube10.
| | 00:57 | I'll put the width in here at 3.5. I'll
put the height at--well I'm not sure
| | 01:01 | yet--and I'll put the depth at 4.5.
| | 01:05 | There is the size of that piece, but it
looks like I have got my width and depth backwards.
| | 01:09 | I'll try that depth here at 3 and
the width at 4 and see if it's right.
| | 01:14 | I can always go back and check by
picking this other object, it's called
| | 01:17 | pCubeShape22, and somewhere in here
actually should be those shape notes.
| | 01:22 | There's pCube9, and there's
that size, so it was 3.5 wide.
| | 01:27 | It's always good to go in and check
that kind of a thing, so it is a depth of
| | 01:30 | 3.5 and a width of 4.5, and there's that leg.
| | 01:34 | What I will do then is to turn on my
grid, and I'll go into a Front View
| | 01:38 | and look at this leg.
| | 01:40 | It started out down on the floor,
and we can see when I turn on wireframe
| | 01:44 | unshaded that it extends up past that stringer.
| | 01:46 | What I will do then is to press
W for move and V and D for snap.
| | 01:51 | I'll put the pivot over on the corner and
snap it right onto that bottom of the curve.
| | 01:56 | I'll press F9 for vertex
and take these top vertices.
| | 02:00 | Now I can turn off my grid once I
verify that it's down on the floor. And I'll
| | 02:04 | snap these vertices down, sticking
them onto the bottom of the stringer.
| | 02:08 | Then I'll move them in on the red x axis by -4.
| | 02:12 | It looks like I have got that angle right,
and it looks like that leg is the right size.
| | 02:18 | I'll spin around and check,
and it seems to be working.
| | 02:21 | What I will do is align it and see
if it looks right as I spin around it.
| | 02:25 | I'll put it on the center, it's
already on the top and bottom correctly.
| | 02:28 | I do need to clean this up a little bit,
I'm going to assume that I may take my
| | 02:33 | table and flip it up on its side.
| | 02:35 | So reasonably I can leave this face
on the bottom of the leg in and just
| | 02:39 | take out one at the top.
| | 02:41 | I'll select it, press F11 for face and
select all those faces, then hold Ctrl
| | 02:45 | and deselect across the middle,
and finally delete that face.
| | 02:48 | There is that one leg.
| | 02:50 | I'll end up getting the others in so I
can get the stretchers across correctly,
| | 02:54 | but then I'll delete them once I unwrap one leg.
| | 02:56 | For the next step I'll clone the leg
and use it as a measuring tool to get
| | 03:00 | the crossbar in place.
| | 03:02 | I can see in here that the crossbar
is snap cleanly between those legs.
| | 03:06 | So having the other leg in is important.
I'll put it in, and then I'll snap the crossbar.
| | 03:11 | Finally, I'll do this center beam,
this is roughly a picnic table or
| | 03:15 | trestle style table.
| | 03:17 | I'll go into Front
View, and there is that leg.
| | 03:20 | I'll duplicate it by pressing Ctrl+D
and scale on the -1 on the x axis.
| | 03:25 | -1 and the Relative Transform mirrors it over.
| | 03:29 | I'll press W for move and snap it into the
right place on the underside of the curve.
| | 03:33 | Now I can get the box in
that's the strut across the middle.
| | 03:37 | I'll hold Shift and right-click
and snap another poly cube in.
| | 03:41 | It didn't want to snap right, and that's okay.
| | 03:43 | I was in a front view, and
it was not able to register.
| | 03:46 | I'll go back here and do it into
Perspective then move it into the right place.
| | 03:51 | There's my polyCube. I'll put the depth in at 3.
| | 03:54 | I'm going to make it a little
narrower so I get an extra shadow line.
| | 03:57 | I'll put the height in here at 4, and
I'm going to use the Align tool to get it
| | 04:01 | in the right place relative to my legs.
| | 04:05 | It's snap down to the bottom, snap down
to the center, and then I'll move it up.
| | 04:10 | I'm using the Relative Transform, and
I'll pull it up by 6 inches, then I'm
| | 04:14 | going to center it on that stringer.
| | 04:16 | On my Hotbox choosing my Align tool,
which you can see I run to a lot.
| | 04:20 | Centering it on the stringer, and then
I'll go in a Front View and scale it out.
| | 04:26 | In this case though, I'm going to scale
by vertex that way the object retains
| | 04:30 | its correct sizing.
I'll pick the vertices and press R for scale.
| | 04:34 | I'll scale these out until the
stringer meets the legs then I'll go into a
| | 04:38 | wireframe by pressing 4 and grab the
top vertices and pull them back, keeping
| | 04:42 | those lines parallel.
| | 04:44 | I'll zoom in and make sure
I have got them in the right place.
| | 04:47 | I can always take them and pull them back
just a little bit or let it clip right through.
| | 04:51 | I'm going to let it clip because
it's going to let me economize on the
| | 04:55 | polygons a little bit.
| | 04:56 | I'll press F11, select all the
faces, deselect the middle and delete.
| | 05:00 | I'm ready to add the final bar across.
| | 05:03 | What I'll do is to pick all of the
pieces here and center their pivots, choosing
| | 05:07 | on the Hotbox > Modify > Center Pivot.
| | 05:10 | With all the pieces selected I'll snap
them, I can snap them all from the center
| | 05:14 | here to the outside of the table,
they will all still also maintain their
| | 05:18 | relative position to each other.
| | 05:20 | Now I'll pull this back,
checking the reference one more time.
| | 05:23 | It looks like this leg assembling
needs to recess by, call it, 10 inches.
| | 05:27 | I'll recess it, clone it,
and snap that final bar in.
| | 05:31 | It sticks out by an inch and a half,
so I'll pull it back by let's say 12 to
| | 05:35 | start and see how it looks.
| | 05:37 | In a Shaded View it looks
like I'm in the right place.
| | 05:40 | I'll repeat it on the other side,
duplicating this by pressing Ctrl+D, holding V
| | 05:45 | for snap and snapping it
to the outside of the table.
| | 05:48 | Then I'll move it in by 12, and
I'm ready to snap this center.
| | 05:52 | For the center stringer I'll pick
these bottom crossbars and temporally hide
| | 05:57 | everything else, choosing
Display > Hide > Hide Unselected.
| | 06:00 | What I'll do here is snap another
polyCube in holding V for snap and snapping
| | 06:05 | it across, and then I'll snap up for the
height so the height matches the crossbars.
| | 06:10 | Finally, in the polyCube instead of a
width of whatever it came out to be, I
| | 06:14 | will put the width at 4.
| | 06:16 | It looks pretty good, although
maybe the width should be three.
| | 06:19 | So it's a little taller than wide,
because the center is in the center, and I
| | 06:22 | snapped it across the crossbars the
width scales from both sides equally, so I
| | 06:27 | don't have to worry about it.
| | 06:29 | I'll delete the end faces of this,
and I'm ready to get to my unwrapping.
| | 06:33 | I'll show my other objects, choosing
Display > Show > Show Last Hidden, and
| | 06:37 | there's my trestle table.
| | 06:39 | It's ready for maybe some additional
detail. What I might want to do is make
| | 06:42 | some additional objects which are the
proud heads or fasteners for these side struts.
| | 06:48 | I may also want to put some additional
fastening up at the top, and finally, I'll
| | 06:52 | take these boards once I have unwrapped
one and mess up the ends a little bit.
| | 06:56 | So far, though, my trestle table is
looking pretty good, and I'm ready to
| | 06:59 | delete elements unwrap and then re-clone using one
texture sheet of wood for this and the chairs.
| | Collapse this transcript |
| Breaking up the model for texturing| 00:00 | With my table complete, I'll start breaking
up the model and getting the unwrap going.
| | 00:05 | I have modeled out the entire table, but
really I'd like to unwrap parts of it and
| | 00:09 | then probably re-clone some pieces.
| | 00:11 | I can see where things can be
deleted and re-cloned easily.
| | 00:14 | What I will do is make sure
that I take one of each element.
| | 00:17 | I'm going to take three of
the legs and delete them.
| | 00:20 | Delete one of the stretchers, and then I'll
delete one of the stretchers underneath.
| | 00:25 | As for the top boards, what I think
I'll do is to delete five of them.
| | 00:30 | I have got in there for kind of show
and to see how it's going to look.
| | 00:34 | I'm going to delete five, unwrap one,
clone five and then use the preserve UVs
| | 00:39 | option to mess up the geometry on a few boards.
| | 00:42 | This will make for a much easier unwrap,
and I can get stacked UVs automatically
| | 00:47 | as cloned objects that
show UVs have stacked UVs.
| | 00:50 | Here's how I'll unwrap this.
I'll start out with the leg as an example.
| | 00:55 | In my UV Editor, this
already has coordinates on it.
| | 00:58 | Although if I put my checker material
on, I can see that they're distorted.
| | 01:01 | I'll select my objects, right-click,
and assign my existing blinn1 material.
| | 01:06 | When I press 6 to go into hardware texture,
I can see that I'm distorting those UVs.
| | 01:12 | For this I'll choose
Create UVs > Automatic Mapping.
| | 01:15 | I'm going to sew this back together.
| | 01:17 | What I'll do when I sew in here, because it's in
an angle is look at the straight sides to sew.
| | 01:23 | I'll right-click and choose Edge and
pick one of those edges, then under
| | 01:27 | Polygons, I'll move and sew.
| | 01:29 | I'll keep repeating along, making myself
well and odd shape oblong of wood, that's okay.
| | 01:35 | What I'll do then also is to pick one of
the ends and see where it corresponds to.
| | 01:39 | There is the end, and I'll sew that on.
Now I'll take this element and rotate it.
| | 01:45 | I think I'll actually select it with the Move
Shell tool, press E for Rotate, and spin it over,
| | 01:50 | making sure that those lines come as close
to vertical as I can. That will work nicely.
| | 01:54 | And the reason for doing it
this way is how this is made.
| | 01:58 | This wood came out of the mill straight.
It's not made in a parallelogram.
| | 02:02 | We have taken a straight piece
and cut across it in an angle.
| | 02:05 | Therefore the wood grain needs to travel straight
up the piece, which is oriented at an angle.
| | 02:11 | It's important to do this versus unwrapping it
straight, where the wood grain skips off the surface.
| | 02:16 | It's those kinds of details we expect
to see done right and not question them.
| | 02:20 | I can hit this stretcher with either
a cylindrical and automatic unwrap.
| | 02:24 | The reason I like automatic unwrap,
especially for simple objects is that it
| | 02:28 | makes it very easy to sew them
together and decide where the seam should be.
| | 02:32 | What I will do is try to
put that seam on the inside.
| | 02:35 | I can do this by right-clicking and
choosing Edge, and I'll spin around and pick
| | 02:40 | this bottom inside edge, and
there it is highlighted in the editor.
| | 02:43 | That's where my seam is going to be.
| | 02:45 | So what I'm going to do to sew it is
pick its opposite and do a Move and Sew.
| | 02:50 | This is the equivalent we saw on the
chairs of spinning a cylindrical mapping.
| | 02:55 | I happen to be doing it
with an Automatic in this case.
| | 02:57 | I make sure I right-click and pick Edge,
and pick W for Move, selecting my edges,
| | 03:03 | and then doing a Move and Sew around.
Here's the test to see if this worked.
| | 03:07 | By edge, this edge is here, which means
I missed in the way I moved and sewed.
| | 03:13 | I'll undo and move and sew a different section.
| | 03:16 | This edge highlighted is actually
the one I want to keep separate.
| | 03:20 | So I'll go over here on the long edge
of this short side and sew it, now also
| | 03:26 | the long edge of the bottom actually,
pressing G to repeat last and the seam is
| | 03:30 | in the right place, that edge is right
here, it's the inside bottom on my table.
| | 03:36 | So any mismatch will be pretty well camouflaged.
| | 03:39 | If the table is even flipped up,
there's a good likelihood we're not going to
| | 03:43 | notice because I have got the leg, and this
long stretcher here to break up that texture.
| | 03:48 | Finally, I'll deal with
the long stringer underneath.
| | 03:51 | Again, I'm going to hit this
with some Automatic Mapping.
| | 03:54 | I'll go in and stitch it together,
and again, I'm going to try to get the
| | 03:57 | mapping to seam together somewhere around the
bottom where it's least likely to be noticed.
| | 04:02 | There is that seam highlighted in orange.
| | 04:04 | So I'll start sewing
here and work my way around.
| | 04:07 | The wide pieces are the sides of this part.
| | 04:10 | I'll choose Polygons > Move and Sew, I
work my way around here, picking edges.
| | 04:15 | Here is another edge selected,
and I'll move and sew it.
| | 04:19 | Finally, with it all Move and Sewn
together, I can pick an edge and see where it
| | 04:23 | is, and it's on the bottom corner.
| | 04:25 | It's over on this side which is fine,
I had to end up with it somewhere, but
| | 04:28 | more importantly I have
got this element unwrapped.
| | 04:31 | Now I'll deal with the stringer, and
we'll see the same thing all the way around.
| | 04:35 | I'll pick this element, hit it with some
Automatic Mapping, and Move and Sew together.
| | 04:39 | Even though I have introduced this curve here,
I'm still going to essentially planar map those ends.
| | 04:44 | What I will do is Move and Sew, and
get the major elements on the first,
| | 04:48 | right-clicking and choosing
Edge and selecting this edge.
| | 04:50 | This will be the bottom which
is the most visible actually.
| | 04:53 | The top is almost all
camouflaged except for the ends.
| | 04:56 | I have sewn my way along, and I'm going
to keep the ends down here separate.
| | 05:00 | The reason is that this is a
piece of wood, as we expect it to be.
| | 05:04 | The wood grain will go parallel to
the long direction of this piece.
| | 05:09 | What that means is at the end here,
this wood grain, will probably go diagonal.
| | 05:13 | So by keeping these ends separate,
I'm going to take them, and I can rotate
| | 05:17 | them at a 45, that way the wood grain
will spread across here correctly instead
| | 05:22 | of wrapping around, which would look
rather odd as if we had a piece coated in
| | 05:26 | wood-colored paper.
Now for the top. I'll pick this top board,
| | 05:30 | making sure I pick the whole object
and hit it with an automatic unwrap.
| | 05:34 | I'll stitch this together and watch
out for those seams as usual, picking by
| | 05:38 | edge and figuring out which edge is which.
| | 05:41 | Under Polygons I'll Move and Sew,
and I'll stitch this together.
| | 05:45 | I want to make sure that I stay in edge.
| | 05:48 | Once I start to Move and Sew, it may
switch my selection over to UVs, so I'll
| | 05:52 | make sure I get back here, and
now I can Move and Sew those.
| | 05:55 | When I'm done with it, I'm
ready to start re-cloning.
| | 05:58 | I'll show how to do at the top.
| | 06:00 | The other sides are pretty
straightforward, they simply get cloned and
| | 06:03 | snapped into place.
| | 06:04 | For the top, however, I'll press Ctrl+D
to duplicate and on the Relative
| | 06:08 | Transform I'll move over by 6,
because that's the size I have made it.
| | 06:12 | I'll press Shift+D and
keep duplicating this out.
| | 06:15 | There are my top planks, so in the
editor when I slide these back and forth on
| | 06:19 | the wood I'll get different grain.
| | 06:21 | What I'd like to do, though, is to pick
some of these faces. I'll double-click on
| | 06:25 | Move and make sure I check Preserve UVs.
| | 06:28 | I'm going to take this
face and pull it up slightly.
| | 06:31 | I'll take this one over here
and scale it in just a little bit.
| | 06:35 | Finally, I'll take an edge or two,
maybe three and move them around.
| | 06:39 | I'll pick that edge almost at random and
just pull it, and making the table just
| | 06:44 | slightly uneven just distorting the
boards to add some wear and tear without
| | 06:48 | rounding over too many corners.
| | 06:50 | If you'd like you could
bevel these outside corners.
| | 06:52 | If I hold Shift and right-click and
bevel that edge, it works fairly decently,
| | 06:57 | it won't disturb those UVs too much,
and this is a place to do a fairly good
| | 07:01 | size offset and add in a couple of segments.
I'll repeat it over here.
| | 07:06 | Pressing G to repeat last, turning off
offset as a fraction and offsetting by
| | 07:10 | one with the two segments, what I will need to do
is at some point work over the hard and soft edges.
| | 07:16 | For this object the whole thing can be
hardened, holding Shift and right-clicking
| | 07:19 | and choosing Soften/Harden Edge >
Harden Edge, then I'll come back to this
| | 07:23 | single edge in the middle of that curve.
| | 07:25 | Pick its counterpart on
the other side and soften it.
| | 07:28 | It's a nice detail, and if we back out
far enough we can definitely tell it's a
| | 07:31 | radius on that edge.
It looks less than perfect.
| | 07:34 | More importantly we get a
slight variance in the table.
| | 07:37 | We can add cracks in as we need.
| | 07:39 | I find that spacing out a few
of the boards helps immensely.
| | 07:42 | Now that I have got these in place, I can bevel
that other corner and clone these elements.
| | 07:47 | Once I have got those all done and all
the pieces are in place, I'll start to lay
| | 07:51 | them out of my wood texture and make
sure the grain looks like the right size.
| | Collapse this transcript |
| Laying out the wood texture| 00:00 | In this video I'll get a proxy wood
texture on my table to see if I have got
| | 00:04 | decent unwraps and the
grain flows around correctly.
| | 00:07 | In the next chapter, I'll show how to
paint wood from scratch, painting a rich
| | 00:11 | lustrous wood to go on here.
| | 00:12 | Before I do that, though, I need to make
sure that I have got things laid out and
| | 00:17 | that the size of my elements versus the
size of the size of the texture they are
| | 00:21 | going to go on looks correct.
| | 00:23 | And I also need to check with a
vertical grain to see if I have got any obvious
| | 00:27 | issues and the way things tile.
| | 00:28 | I'll go over to Photoshop and make
some really quick sort of wood grain.
| | 00:32 | This table and the chairs next
to it are straight grain wood.
| | 00:35 | My other chairs and
table have something similar.
| | 00:37 | I'll make a new document, and what I'm
going to make is just some sample wood
| | 00:41 | grain, not really fully finished but
at least it will have a grain that will
| | 00:45 | tell me if I'm in the right direction.
| | 00:47 | I have made a new map that's 1024 square, and
I'll press Shift+F5 to fill it with a 50% gray.
| | 00:52 | Now I'll choose Filter > Texture > Grain.
| | 00:55 | And in my Grain I am going to use a vertical
grain just like I did on the hammer handle.
| | 01:00 | I'll pull up the Intensity
just a little bit and click OK.
| | 01:03 | I'll make a new layer pressing Ctrl+Shift+N
and making a new layer by hitting OK.
| | 01:08 | I'll press Ctrl+Left bracket to pull it down, and I'll
fill this new layer with some kind of blonde wood color.
| | 01:14 | I need to be able to see this, not
necessarily that it's the exact right color yet.
| | 01:18 | Here's a decent warm wood color,
and I'll fill this layer in.
| | 01:22 | I'll take my over layer and set
its Blending mode to Color Burn.
| | 01:26 | I'll take the under layer and just desaturate
a little bit, so it's not quite so vibrant.
| | 01:31 | I'll also bring up the Lightness as this
is really a grain test more than anything.
| | 01:35 | Finally, I'll take this over layer
and under Filter > Blur > Motion Blur,
| | 01:40 | I'll blur it a little bit setting
the Angle at 90 and the Distance at,
| | 01:45 | 15 works, that's good.
| | 01:46 | I'll save this out. It's just
a temporary working document.
| | 01:49 | I'll press Ctrl+Shift+S
and save it out as a TIFF.
| | 01:53 | I'll call this 04_13_end, and I'll
put it in my sourceimages directory.
| | 01:59 | Here's my Game Props project and
sourceimages where my textures go.
| | 02:03 | I'll uncheck Layers and
Save As a Copy and hit Save.
| | 02:08 | Back over here in Maya, I'll swap this into
the blinn material I have got assigned everything.
| | 02:13 | I'll scroll over with any particular
object selected, and there's that Blinn.
| | 02:16 | I'll go into the Color
texture and swap out that color.
| | 02:20 | There is my wood grain and what this
let's me know is if I have got things in the
| | 02:23 | right direction or not.
| | 02:25 | As we can see it's a poor
substitute for actual wood.
| | 02:28 | Here's what I'm looking at
to see if this really worked.
| | 02:31 | Is the wood grain in the right direction?
| | 02:33 | It's working wonderfully here on the sides--or
the ends, actually--of these long frames underneath.
| | 02:39 | We have got the wood grain running down,
and it goes diagonally as if this was a
| | 02:42 | piece of wood that was cut, this is
the correct orientation of that grain.
| | 02:46 | It's doing a great job here on the legs.
| | 02:49 | My efforts in making that shell and
reorienting it so the wood grain runs
| | 02:53 | parallel to the long direction is working.
| | 02:56 | I have got decent wood grain on the long
stringer and also on the sort stretchers across.
| | 03:00 | The table top is pretty good. Obviously
needs to vary, although I have a slight
| | 03:05 | issue here at the ends.
| | 03:06 | I'm seeing here that one I have got
a mismatch because of the bevel.
| | 03:10 | Two, this grain is in the wrong direction,
and this is exactly why I did this test.
| | 03:15 | It looks like also one of my
legs moved off just a little bit.
| | 03:18 | I'll pick it and fix it by using my Align tool.
| | 03:21 | Sometimes we find issues like that,
and it's really not a big deal to go
| | 03:24 | back and correct them.
| | 03:26 | I'll align it on the center, and
now that leg is in the right place.
| | 03:29 | More importantly here's the top,
and this is why I put that texture in.
| | 03:33 | Under Edit UV, as I'll go into my
Texture Editor, I'll zoom out, and there's the
| | 03:37 | top with those end faces.
| | 03:40 | As part of the moving and sewing, I left them
alone. What I need to do is to pick those shells.
| | 03:44 | I'll select and then hold
Ctrl to deselect the large shall.
| | 03:48 | I'll take these and pull them
over and then rotate them 45 degrees.
| | 03:52 | That's how we get the
grain in the right direction.
| | 03:54 | I'm not worried yet about where these are,
as I don't have a proper wood grain drawn.
| | 03:59 | So anywhere I start to move these shells
is going to have the same vertical grain.
| | 04:03 | However, this is a good test.
I'll pick the other one and do the same thing.
| | 04:07 | I know I'm going to take this shell and
move it eventually. Making sure I hit W
| | 04:11 | before I go into the Editor is a big deal.
| | 04:13 | I'll pick the Move Shell tool, pull these over,
grab these small shells, move them, and rotate them.
| | 04:19 | I'll spin them back and forth, they don't
always have to line up in the same direction.
| | 04:23 | But I want to make sure as part of this
that I'm taking all of these shells and
| | 04:27 | pulling them and rotating them.
| | 04:28 | It's important to get this looking right,
making sure that the grain flows the
| | 04:32 | right direction on all the pieces, as this is one
of those things that is fairly obvious if it's wrong.
| | 04:38 | Now for the beveled sections. What
I have got here is the Move and Sew from
| | 04:42 | earlier and the bevel added to that decently.
| | 04:45 | What I may want to do is decide where
that split occurs, right now the split
| | 04:50 | occurs maybe in the middle of some of these,
and we can see a mismatch here on the grain.
| | 04:54 | I think what I'll say is that this
split is okay, that the long grain continues
| | 04:59 | right into halfway on that bevel and
then that grain changes direction because
| | 05:02 | the wood has curved in the cut,
enough that it's okay to see that.
| | 05:07 | I'll take these pieces, deselect the
main shell, pull it over so I can see what
| | 05:11 | I am doing, and rotate.
| | 05:13 | Because I'm grabbing both at once,
this is taking care of both ends, and I have
| | 05:17 | got varied grain across here.
| | 05:19 | I'll finish this on the other side,
again picking these shells, deselecting what
| | 05:23 | I don't want, moving it over, and rotating it.
| | 05:26 | This is one of those things
that's deceivingly obvious.
| | 05:29 | We need to do it, but a lot of times
people forget to do that, and we end up
| | 05:34 | with odd wood grain on
pieces where it's very exposed.
| | 05:36 | There is a good chance of seeing the
table and to view something like this,
| | 05:40 | where those ends are very prominent, and
we need to see the grain is at least in
| | 05:44 | the right direction.
| | 05:45 | It may not be a properly drawn end grain
as we are trying to reuse that texture.
| | 05:49 | But having it in the right direction
will get the idea across that this was cut
| | 05:53 | from a piece of wood.
| | 05:54 | I'll look at my chairs and see if
there's anything else I need to do on them.
| | 05:59 | The chairs look pretty good
with just a few exceptions.
| | 06:01 | I can see obviously I need to scale
some of my UV shells, and I'm getting an
| | 06:05 | enormous amount of grain on the leg.
| | 06:07 | Once I get the wood in,
I'll deal with the scaling.
| | 06:10 | However, on the top I need to reorient it.
| | 06:12 | As you can see, here my pan is not
moving very fast, it's because I have panned
| | 06:16 | over and zoomed around without refocusing.
| | 06:18 | I'll press F to focus, and now I
can tumble around that seat correctly.
| | 06:22 | I'll check it out in the editor and
what I'm seeing here aside from it being
| | 06:26 | absolutely enormous is
it's facing the wrong way.
| | 06:29 | I want the grain to go along
the seat instead of across it.
| | 06:33 | I'll make sure I pick that shell,
pressing W for Move, and then picking the Move
| | 06:37 | UV Shell tool, rotating 90 degrees, and
then I can pull it over as I need.
| | 06:42 | It's straight here and at some point goes
straight there, but there is an obvious mismatch.
| | 06:47 | What I may want to end up doing is
taking this shell down here and detaching it,
| | 06:52 | taking these front faces
and rotating them diagonally.
| | 06:55 | I'll press W for Move, right-click and
choose Face, and select these end faces.
| | 07:01 | Under Polygons I'll choose Cut UV Edges.
| | 07:04 | I'll take these shells here, which are
now all separate, pull them off, and merge
| | 07:08 | them back together under
Polygons choosing Merge UVs.
| | 07:12 | You can cut, merge, and split UVs
wherever you would like to make it work better.
| | 07:16 | I'll take this shell and rotate it 45 degrees
so that what we see on the end of this is
| | 07:22 | the grain running along the
seat and diagonally across.
| | 07:26 | If it's too much of a slant, you can
always click on Rotate--or press E--and spin
| | 07:31 | it back a little bit, this is better
because that grain wraps around nicely.
| | 07:35 | I'll repeat it on the back because there is a
decent chance we might just see that back here.
| | 07:40 | I'll right-click and pick Face, press
W for Move, and select these back faces.
| | 07:46 | Notice that doing in that
order still wants to select UVs.
| | 07:49 | I'll make sure I press W, right-click and
pick Face, and now I can pick those faces.
| | 07:54 | I'll deselect the bottom
here and split these out.
| | 08:00 | I have cut their edges. I'll select these shells,
move them, merge them back in, and rotate them.
| | 08:07 | There is the grain running in the right direction
as if this was cut from a large piece of wood.
| | 08:12 | This corner where I'd have the most
awkward transition is camouflaged in the
| | 08:15 | leg, so it's okay because
I really just don't see it.
| | 08:18 | The rest of it looks pretty good, and
I have got decent wood grain going even on
| | 08:22 | the curved part of my other chair.
| | 08:24 | Remember I am going to take this and
shrink it down or blow it up so I get
| | 08:28 | enough grain on it, and it's going to be
done in a dark wood, so I am not too worried.
| | 08:33 | The UVs work decently here on this torus,
although they are in the wrong direction.
| | 08:37 | This is an easy fix as
it's got UVs inherently on it.
| | 08:40 | I'll pick this entire shell
and rotate it, once, twice.
| | 08:43 | At a rotation of 90 degrees, the grain flows
around, and it's going to be scaled down
| | 08:47 | considerably to get little bit of
grain on it, making the grain big and
| | 08:51 | eliminating many areas where we'd see
maybe the texture is stretching a little
| | 08:56 | bit, it's also going to be down low.
| | 08:58 | In the view we are going to be
somewhere like this, looking down at really a
| | 09:02 | small dark ring and making sure
it looks like the chair we expect.
| | 09:06 | Before we get into painting an actual
texture, then, we really need to make
| | 09:10 | sure that we have got the grain in the right
direction on our things that are made of wood.
| | 09:14 | Making sure that things like end grain
where it's adjacent to side grain are
| | 09:18 | shown correctly, because we expect to
see that when we cut a piece of wood.
| | 09:23 | And there is a lot of places in
furniture where that's a crucial detail that's
| | 09:26 | very easy to miss and break the illusion.
| | Collapse this transcript |
| Reusing parts to make a round table| 00:00 | In games, you want to reuse elements
wherever possible, and what that means also
| | 00:04 | is reusing texture space and
things you have already modeled.
| | 00:08 | We have got here what will be one
complete chair and another round chair and then
| | 00:12 | a rectangular trestle table.
| | 00:14 | What I'd like to do is take this table
and clone it, reuse most of it to make a
| | 00:19 | roundtable I can use in maybe
either a similar restaurant, or may be an
| | 00:23 | entirely different
building that's in the same style.
| | 00:26 | Those share a texture sheet, and with some
careful modeling I can reuse most of the elements.
| | 00:31 | What I'll do is I'll start out by
taking my existing table, duplicating it by
| | 00:35 | pressing Ctrl+D, and moving
the duplicate over to this side.
| | 00:38 | I'll hide the unselected objects,
and then I'll go to work on the top.
| | 00:43 | I could probably take this and shape it
and round that top, but I think what I'd
| | 00:46 | like to do is make a new top and boards.
Off to this side here, I'll make a cylinder.
| | 00:51 | I'm going to say it's a pretty big table.
| | 00:53 | I'll give this Poly Cylinder a Radius
of 30, and I'll let the Height be 2, so
| | 00:58 | it's a match for the other one.
| | 01:00 | On the Subdivisions Axis, I
need to make some choices here.
| | 01:03 | My thought is that this table is carved
out of boards, and I don't want to have
| | 01:07 | the boards textured in a pinwheel as
that's an awkward joint to make in the
| | 01:10 | middle for such a beefy table.
| | 01:12 | We usually see things like pinwheels or
wedge shapes in veneer tables where it's
| | 01:16 | over a substrate of more substantial material.
| | 01:19 | For this table what I'd like to do is
show it as if somebody had taken a bunch
| | 01:24 | of boards like I have got on my rectangular
one and cut around out of it, so I have
| | 01:28 | got boards that line up here and
they are simply round at the edges.
| | 01:32 | I'm going to start out then by
making my Subdivisions Axis 24.
| | 01:36 | I can spend a few more polys on this,
as this is the kind of thing that will
| | 01:41 | flunk an edge test, meaning we're
going to see this against a contrasting
| | 01:44 | material in pretty good detail.
| | 01:46 | Here's how I'll make this.
| | 01:47 | With 24 subdivisions I have got cardinal
points, meaning I have got edges that are
| | 01:52 | on the 90s and zeros.
| | 01:54 | I have also got 6 sections over
90 degrees, plenty enough to make a board.
| | 01:59 | I am going to take out the top and
bottom wedge-shaped faces, pressing F9 and
| | 02:03 | selecting the top and bottom vertices.
| | 02:06 | I'll press Ctrl+F11 to
convert to face and delete.
| | 02:09 | Then I'm going to take in a top view,
half of my table and delete it as well.
| | 02:14 | I am going to model half and mirror over.
I'll press F11 and go into Face.
| | 02:19 | I'll select half of those faces and
delete them, which really just leaves me
| | 02:22 | with a ring, this will become my table.
| | 02:25 | I'll press F10 for Edge, and I'm going
to start to Bridge closed some of these
| | 02:29 | pieces, holding Shift and
right-clicking and Bridging.
| | 02:32 | Now if this seems a little bit
laborious in making boards, what I am actually
| | 02:37 | shooting for is having round boards.
| | 02:39 | So by taking these and bridging them
close, I have a complete board here that I
| | 02:43 | can detach and vary, making
it as bumpy as the original.
| | 02:47 | Once I have got these all six faces in,
I'll take this entire board selecting it
| | 02:52 | carefully by face and deselecting
what's not a part of it and extracting it.
| | 02:57 | This will make for easy unwrap.
| | 02:58 | It will take just a few
minutes to make the other boards.
| | 03:01 | I'll choose Mesh and Extract, it's now
a separate object, and I can select it,
| | 03:06 | move it and more importantly
hit it with an automatic unwrap.
| | 03:10 | I'll do one more board here, and that's going to
take me through most of my table pretty nicely.
| | 03:14 | I'll press F10 for Edge, pick the top
edges on the remaining section and Bridge them.
| | 03:19 | Now I'll do it on the bottom, switching over to
a wireframe by pressing 4 and picking the back one.
| | 03:25 | If you notice I look for the quickest
way to get to what I'm doing, whether it's
| | 03:29 | shifting how my view is
displaying or where I am.
| | 03:31 | In this case, one keystroke let me
see through and pick that back edge.
| | 03:35 | I'll Bridge it closed.
| | 03:36 | Now I am going to take these, press G to
Bridge, and over here pick these and Bridge them.
| | 03:42 | Then I'll convert this
selection to Faces, pressing Ctrl+F11.
| | 03:46 | I'll grow that selection out and
then deselect these on the side.
| | 03:51 | As far as deselecting, it's
an interesting note here.
| | 03:54 | I'm actually still in Edge, even though
Maya seems to be shading it like Faces.
| | 03:59 | If I press F11 for Face, now I can
get over here and deselect those.
| | 04:04 | That's a neat one to note as I was
trying to click and drag and holding Ctrl and
| | 04:09 | saying, "Why isn't it deselecting?"
Well, because I was still in Edge.
| | 04:12 | Now I'll take these and extract them.
| | 04:15 | I have often seen people get stuck there
and so I thought it was worth showing,
| | 04:18 | because there is always a way to get
out of what you're doing versus just
| | 04:22 | tapping the Z key frantically and undoing.
| | 04:24 | I'll finish up the rest of these boards,
bridging across here and making the boards.
| | 04:28 | Then I'll take them and automatically unwrap
them all, and finally I'll get the edges varied.
| | 04:33 | I'll show what it looks like once
I have finished making these boards.
| | 04:37 | I have finished my boards.
| | 04:39 | I have Bridged and reconstructed
the boards of the table.
| | 04:42 | I'll turn on the Wireframe on shaded to
see them, and this is actually the way
| | 04:45 | we lay out the boards in
building a table like this.
| | 04:49 | It may seem a little backwards, to
build a cylinder and then tear it apart.
| | 04:52 | But what this gives me is a board
structure like we'd build the table with a
| | 04:57 | roundness planned in and
actually even better, faceted boards.
| | 05:02 | So that naturally, even though I have
got facets in the construction, it looks
| | 05:07 | right, it look like it's part of it
because of the way that the grain goes.
| | 05:11 | When I start to split these a little bit,
those facets will be--of course--naturally there.
| | 05:15 | What I'll do is unwrap this.
| | 05:17 | I'll hit it with an automatic unwrap,
choosing Create UVs > Automatic.
| | 05:21 | I'll look in my Texture Editor
and do some quick Moving and Sewing.
| | 05:25 | I'll press W for move, right-click and
choose edge and start to sew these in.
| | 05:30 | I'll right-click, choose
Polygons and Move and Sew Edges.
| | 05:34 | I'll sew my way across here, picking edges,
hitting G to repeat last and sewing this up.
| | 05:39 | I am going to leave those in separate
and make sure I come down here, pick those
| | 05:43 | shells, deselect the main one,
move them and rotate them 45.
| | 05:48 | To test, I am going to put that wood texture on.
| | 05:51 | Selecting it, right-clicking,
assigning my existing material of blinn1 and
| | 05:57 | pressing 6 to go into Shaded View with textures.
| | 06:00 | I can see obviously that the middle
section is not textured yet, but this one
| | 06:03 | board looks correct.
| | 06:05 | I'll finish this automatic unwrap and
stitch for the other boards and then show
| | 06:09 | what it looks like when I'm done.
| | 06:11 | I have unwrapped this half of table.
I'm ready to mirror it over and start to
| | 06:15 | distort these boards a little bit.
| | 06:16 | I'll close my Editor, and
I'll take all of these boards.
| | 06:20 | What I think I'll do is because their
pivot is still on the original, duplicate
| | 06:24 | them, rotate them by pressing E, and making sure
my Discrete Rotate is on, rotate them around.
| | 06:30 | As you can see, here I have turned off
Discrete Rotate because I was rotating at
| | 06:33 | some point, something that
needed to be not 15 degrees.
| | 06:37 | I'll press and hold E and turn on Discrete
Rotate by left-clicking and holding anywhere.
| | 06:41 | Now I'll spin these around 180.
| | 06:43 | And although they're a match, side to
side I'm going to distort that once I
| | 06:48 | start getting the wood
grain in to lay them out on.
| | 06:50 | What I'll do though is start picking vertices
almost at random and pulling them back and forth.
| | 06:56 | I'll grab these and make
a little bit of a split.
| | 06:59 | Then grab this top one and pull it over.
| | 07:02 | I'll pull this one and yank
it down and over just a little.
| | 07:06 | I'll introduce some variants in this, both top
and bottom adding in a little zig in my table.
| | 07:11 | It's okay to do this and even to revisit
it, coming back and saying let's add in
| | 07:16 | a little more variety here and there,
just pulling it apart and putting in some
| | 07:19 | cracks and making it less
than perfect on the surface.
| | 07:22 | With the wood top in place, I'm ready to
remove the old one and shrink this down
| | 07:28 | to accommodate the round top.
| | 07:29 | I have deleted the top boards, and I'll go in a
Top View taking my new planks and moving them in.
| | 07:35 | I'll switch to wireframe,
their center is in the center.
| | 07:39 | So if I press V for snap and snap
all of these, they do stay together.
| | 07:43 | I am going to line them up on that center
stringer and then move them over by -1.5.
| | 07:48 | I am going to center the top and
then move in the leg assemblies.
| | 07:53 | I'll select all of the pieces, making
sure I pick that center element last.
| | 07:58 | I'll choose Modify > Align tool,
and I'll align them on the center.
| | 08:02 | Because they came from the original cylinder,
they still think their transform is there.
| | 08:05 | And because they're all centered on
each other here, centering them on that
| | 08:09 | center stringer centers everybody on
center, which is a lot of centering.
| | 08:13 | I'll select all of the pieces,
deselect that middle, and go into a Front View.
| | 08:17 | I'll zoom out and make sure
I snap them up right on top.
| | 08:21 | I'll use my Align tool one more time,
snapping them right to the top of this
| | 08:24 | stretcher on top of legs.
| | 08:26 | I'll snap them top to bottom, and it
looks like I accidentally grabbed one of
| | 08:30 | my other stretchers.
| | 08:31 | It's not a big deal to select it and
snap it back down with the Align tool
| | 08:35 | which was still active.
Now I'm ready to pull these in.
| | 08:38 | What I'll do to keep it symmetric is grab
the leg assembly on one side and move it over.
| | 08:44 | I'll try let's say 12 inches in.
| | 08:47 | There is one, and I'll pick
the other and move it in -12.
| | 08:52 | There's my table, and it looks pretty
good, I could move these out a little bit
| | 08:55 | if I wanted just to see if
it works a little better.
| | 08:58 | I'll pull it back by 3, and I
think it's going to look better.
| | 09:01 | So you can see here part of the design
process is just trying it out to see if it works.
| | 09:06 | That looks pretty good. What I'm left with is just
making sure the stringer in the middle matches up.
| | 09:11 | I'll view it straight on in a Front View,
and I'll go into my Move tool and make
| | 09:15 | sure that Preserve UVs is checked.
| | 09:17 | Now I'll pick my vertex, grab one side, hold
V to Snap, and snap it onto those crossbars.
| | 09:24 | I'll do it on the other side
panning over where I need and snapping it.
| | 09:28 | I'm reusing my elements, and more
importantly, I am going to reuse my texture space.
| | 09:32 | When I press 6 I see my stand in
wood grain all over this table.
| | 09:36 | If I need I could even take one of
these elements and copy it to be a
| | 09:40 | centerpiece to hold those boards.
| | 09:42 | But I think I'll let it ride for now,
it looks pretty good like a roundtable,
| | 09:45 | and I can use it in the same room or
some where adjacent to my other one where
| | 09:48 | simply another building is
yet another prop in my game.
| | 09:52 | I'm ready to finally paint
the wood grain and get it on.
| | 09:54 | We'll probably see some adjusting,
both resizing and moving the UVs.
| | 09:58 | So we get different wood
grain on all the different planks.
| | 10:01 | It's important to do that to make sure
that not only is the wood grain the right
| | 10:04 | size and orientation, but the wood grain
looks different that no two boards came
| | 10:09 | from quite the same place on a tree.
| | Collapse this transcript |
|
|
5. Painting an Old Wood Texture from ScratchUnderstanding the importance of painting textures from scratch| 00:00 | One of the best skills to have aside
from being a good modeler for games is
| | 00:04 | being a good texture painter, and part of
that is being able to paint things from scratch.
| | 00:09 | What I generally assume is that if
it's out on the Internet, and I have got it,
| | 00:13 | everybody else has it.
| | 00:15 | Therefore, if I find a texture I like,
guaranteed somebody's already using it.
| | 00:19 | So in this chapter, I'm going to show
how to paint wood grain from scratch.
| | 00:23 | The other reason to paint it is that
we may need a far larger sample than we
| | 00:27 | can find a picture of.
| | 00:29 | As an example, I need 6-foot
boards for this table.
| | 00:32 | Many of the textures out there
are, well, actually fairly small.
| | 00:35 | Here is a couch, and we can see we need
pretty good variation in the wood grain
| | 00:40 | along it and probably a pretty long piece.
| | 00:43 | However, when I go and look at wood
samples I have downloaded online, this one
| | 00:48 | might be a foot and half square of that big.
| | 00:51 | This one is only a few inches on a
side as it's a different species.
| | 00:55 | These boards might be 4 inches, maybe
5 across, but really not very big,
| | 01:01 | leaving the only a couple of linear feet.
This is a big sample of not much at all.
| | 01:07 | It really does a great job of showing
the grain and pore structure, but in terms
| | 01:10 | of using it as a texture,
I'd see this repeat endlessly.
| | 01:14 | What I need to do then is look at what
the texture is I need to paint and think
| | 01:19 | about painting a large raw sample.
| | 01:21 | Then I can cut out and use pieces,
either making a large square of wood I can
| | 01:25 | use in a stacked unwrap, or taking
that large sample and cutting out boards.
| | 01:31 | From this, I can have one sample that
I can recolor slightly and make a wood
| | 01:35 | floor as well as the wood for my furniture.
| | 01:38 | It's a good idea then to look at
materials, figure out what you need, and learn
| | 01:42 | to paint large raw images.
| | 01:45 | What I'll show in this chapter, then,
is how to paint this from scratch.
| | 01:48 | I'm going to paint an
improbable section of wood.
| | 01:51 | I'll try to paint maybe a 6-foot
square piece of wood with a huge amount of
| | 01:56 | grain, something that we really
couldn't get out of any possible tree.
| | 01:59 | Then I'll take it and use it as
a raw texture in other places.
| | 02:04 | I'll save it as part of a library so I can
recolor it if needed and reuse it again and again.
| | Collapse this transcript |
| Creating the initial grain lines| 00:00 | To start up painting wood grain.
I'll need a new document.
| | 00:03 | I'll press Ctrl+N and make a
new document here in Photoshop.
| | 00:07 | In the New document settings, I'm
going to establish the basic grain.
| | 00:11 | What I will do is put that in and then
blow it up, smearing the grain gently.
| | 00:16 | I'll start out with a new
document, maybe 1500 square.
| | 00:21 | I'm going to run this at 72,
which is my default for textures.
| | 00:25 | Anything higher than 72, really
doesn't apply, as screen resolution is always
| | 00:29 | 72 pixels per inch.
| | 00:30 | 8 bit is fine, Transparent
background is good enough and RGB Color.
| | 00:35 | I'm also running this at Square Pixels.
| | 00:39 | If you are going into a game that
accepts a Color Profile, or if you'd like to
| | 00:44 | use it across in Maya if you're doing
rendering as an example, you can specify a
| | 00:48 | Color Profile for your texture and then
make your game and also Maya see this
| | 00:52 | color profile using the Color Profile settings.
| | 00:55 | I'm going to leave it alone at the
sRGB it's set to. I'll click OK.
| | 01:00 | I'll start up by filling this with a 50%
gray, pressing Shift+F5, and in the Fill
| | 01:05 | Contents choosing 50% Gray at a Normal 100%.
| | 01:10 | Now I'll put some grain in,
choosing Filter > Texture > Grain.
| | 01:15 | I'll use a Vertical Grain, and I'll
set the Contrast fairly low with a decent
| | 01:20 | intensity, somewhere in there, looks
pretty good so that I have got gray to gray
| | 01:25 | instead of black and white. I'll click OK.
Now I'm going to add some Motion Blur on this.
| | 01:31 | I'll choose Filter > Blur > Motion Blur,
and as we have seen in previous videos,
| | 01:37 | the Motion Blur smoothes
out the dots in the grain.
| | 01:40 | What I would like to do is make sure
this distance is not terribly big, maybe
| | 01:44 | between 10 and 15, and that way the
dots and the wave in the grain leaves a
| | 01:48 | little bit of a wave in the wood.
| | 01:51 | It's not perfect, although
it's exactly straight.
| | 01:54 | With a grain created, I'm ready to add
in some variation, and I'll check out the
| | 01:59 | reference to make sure I'm on track.
| | 02:02 | In this wood, Wood02, I can see
I have got variation in direction.
| | 02:07 | I have got loops, whirls, swirls and all
kinds of pieces, and I have got variation
| | 02:12 | in the width of the grain.
| | 02:15 | Wood03 is very consistent
where it's a very straight wood.
| | 02:19 | Wood04 is probably a pine or a fur.
| | 02:21 | And what we tend to see is that the
grain really varies in width across
| | 02:25 | each board and then those things like knots
and otherwise that add in local variation.
| | 02:31 | Wood05 has large variation across the grain,
color variation as well as the loops and swirls.
| | 02:38 | What I'm going to do is use the Liquify
tool first, to vary the grain in width,
| | 02:43 | I'll choose Filter > Liquify.
| | 02:45 | What I'll do is press Z to zoom out,
hold Alt and click once so I can see the
| | 02:51 | top and bottom of my image.
| | 02:53 | I'm going to use the Bloat tool and what
I'll do is take the Density and Rate way down.
| | 02:59 | If you're working with a pen,
take your pressure down as well.
| | 03:02 | I'll try this at 5 and 5.
| | 03:05 | I'm going to make it bigger, too, by using
the brackets, probably somewhere in the
| | 03:09 | 130 to 150 range is fine.
| | 03:12 | We can't use Shift to constrain
direction, but what I'm going to do is try to
| | 03:16 | hold my hand as steady as I can.
| | 03:18 | I'll drag down here and open up that grain
structure, keeping it as uniform as possible.
| | 03:25 | I'll come back to the top
and go right off the edge.
| | 03:28 | I don't mind a little pinch
right there, it looks fairly natural.
| | 03:32 | I'll do this a few more times
adding a variation across the grain.
| | 03:37 | If your hand happens to wiggle too much,
don't worry, hit Ctrl+Z and undo and try it again.
| | 03:44 | It may take a couple of
times to get this fairly even.
| | 03:48 | I have added in a couple of bloats, and I'm
going to upsize the brush and try a few more.
| | 03:53 | The big deal here is to add in
some local variety in the grain.
| | 03:56 | Occasionally, we see wood that is waney.
It's a growth ring pattern.
| | 04:01 | I can always come back and
reconstruct if I need, and I don't mind if
| | 04:05 | occasionally it pinches or twists. I'll hit OK.
| | 04:09 | Now I have got the grain in
place with some local variation.
| | 04:12 | I'll upsize this image, pressing Ctrl+Alt+I,
and making the width, let's say 4000 square.
| | 04:20 | The reason to do this is to ask Photoshop to
interpolate new pixels to make up new data.
| | 04:26 | What that does is it softens out
that grain, blurring it slightly without
| | 04:31 | simply adding a blur on, and makes it a
little less precise in the remaining grain lines.
| | 04:37 | With my grain in place, I'm ready to add in value
variation as well, which I'll do in the next video.
| | Collapse this transcript |
| Adding value variation across the grain| 00:00 | In this video I'll add value
variation across the wood grain. So far I have
| | 00:05 | just got size variation.
| | 00:07 | I have the used Bloat tool in
Liquify to be able to spread it out and
| | 00:11 | occasionally add some twistiness.
| | 00:13 | I'll press B for Brush, and I'll make
sure my foreground color I have got a good
| | 00:17 | deep gray, pulling out the
saturation and bring down the value.
| | 00:22 | Making sure it's set to Multiply, and
I'm going to Multiply this at maybe 8% or
| | 00:27 | 9%, going very slight.
| | 00:29 | Upsize that brush using the square
brackets, going fairly big here.
| | 00:33 | What I want to make sure I do is to
zoom out by pressing Z and holding
| | 00:38 | Alt, clicking once or twice, and I'd like to
see some of the canvas around this document.
| | 00:44 | Then in my brush, I'll click and drag
holding Shift to stay straight on the grain.
| | 00:50 | I'll add in some stripes adding in
local variation, occasionally letting it cross
| | 00:54 | over my twisty grain.
| | 00:56 | Sometimes I'll go most of the way and
then let it go and go by hand for the rest
| | 01:02 | just add a little bit of zing.
| | 01:04 | What I need to make sure I do is after
each stroke or stripe on the grain, I
| | 01:09 | click outside of the document. If I
keep holding Shift, Photoshop will draw
| | 01:13 | lines across diagonally
connecting between points.
| | 01:16 | I'll click and drag down and add a few
more, upsizing and downsizing the brush
| | 01:20 | occasionally, so I have got width
variation across the darkness.
| | 01:24 | Now I'll add in some light.
I'll swap my colors.
| | 01:28 | You can hit D for default colors and X
to swap. I'll change the mode over to a
| | 01:34 | Linear Dodge and take this
Opacity way down. Here it is at 3.
| | 01:39 | I'll start outside again and dodge this,
upsizing and downsizing the brush to
| | 01:44 | add some light streaks in the wood.
| | 01:47 | It should be a subtle variation. We
shouldn't see zebra stripes across here, as
| | 01:51 | much as light and dark, all
within roughly the same range.
| | 01:56 | With this in place we need to make
sure we have got final variation in.
| | 02:00 | Occasionally, I'll swap the colors,
recognizing I'm still using black and
| | 02:04 | switch back to Multiply.
| | 02:06 | I'll make the brush a little bit bigger
and run a couple more streaks down it.
| | 02:10 | This is going to give me an overlay
leaving me some fairly dark streaks.
| | 02:15 | This looks pretty good, and I'm ready
for the next step of actually adding warp
| | 02:19 | into the wood grain and
then finally knots and color.
| | Collapse this transcript |
| Warping the grain| 00:00 | The wood grain is proceeding nicely,
I have got local width spread in the grain,
| | 00:05 | plus value variation, so it
really has some difference to it.
| | 00:09 | Now it's time to warp this gently and
then start to add in local areas for
| | 00:14 | knots and other things.
| | 00:16 | I'll go back to my Liquify
Filter, remember we have upsized this.
| | 00:20 | I'll press Ctrl+Alt+I and show that.
This image is 4000 square, which is really big.
| | 00:25 | So be prepared occasionally for your
computer to take a small performance hit.
| | 00:30 | I'll choose Filter > Liquify, and in
the Liquify I'm going to warp it.
| | 00:36 | I'll press Z and hold Alt to zoom out.
| | 00:38 | I want to make sure I have got lots
of room around my document to move.
| | 00:42 | I use my Forward Warp tool, and again,
I'm going to take the Brush Density
| | 00:46 | and Pressure way down.
We don't want a drastic warp in here.
| | 00:51 | What I need to do is add some subtle
curves, I don't want to produce giant
| | 00:55 | zig-zaggy wood, as much as a little bit of a bend.
| | 00:59 | I'll bring up that Brush Size,
how drastically you might ask?
| | 01:02 | 600 is not too small.
| | 01:04 | I will go even bigger, and it's
okay really to max out that slider.
| | 01:09 | If you'd like, you can also
use the slider in the Brush Size.
| | 01:12 | I just happen to be over my
brackets and use them regularly.
| | 01:16 | Now I'll take this and brush that wood
over just adding in a little bit of curve.
| | 01:21 | I tend to work diagonally from either upper left
to lower right, or upper right to lower left.
| | 01:27 | We can see occasionally Photoshop
will lag, as I am dealing with an
| | 01:31 | enormous amount of data.
| | 01:32 | This might be a good time to go and
hit Enter and accept this Liquify and let
| | 01:37 | it think for a minute.
| | 01:38 | If you happen to get a space in the
side like I just did, use that Warp tool to
| | 01:42 | pull it back and erase that space.
| | 01:45 | I have got a little bit of a curve going,
and I'm almost ready to put some knots in.
| | 01:49 | I'll click OK and let it return the Liquify.
| | 01:53 | Then I'll come back and
do some localized warping.
| | 01:56 | With the warp accepted, I'll go back into
Liquify, choosing Filter > Liquify again.
| | 02:02 | I'll zoom out and warp at
a slightly smaller scale.
| | 02:06 | It's okay to do this in multiple steps,
I'll try Brush Size of 800 and increase
| | 02:12 | in Density, maybe 7. I'll add in a
little bit of local warp here and there, just
| | 02:18 | a little extra curve.
| | 02:19 | Again, making sure I don't have any
drastic zigzags, but taking this opportunity
| | 02:23 | to occasionally spread out
some grain here and there.
| | 02:26 | This looks pretty good. The big test
is not does it look like wood? But is it
| | 02:32 | fairly straight and fairly
parallel with some local variation?
| | 02:37 | That's how we determine if this
works for large texture sheet.
| | 02:40 | If there are giant zebra stripes or
zigzags, it's not going to hold up well.
| | 02:45 | I'll hit OK to accept the Liquify, and then
I'll get into making knots in the next video.
| | Collapse this transcript |
| Adding knots| 00:00 | The wood grain is warped, well as it
should be, because trees are curved, and
| | 00:04 | now I'm ready to add in some knots.
| | 00:07 | Knots are an option in painting wood
grain. Sometimes we don't want knots, we
| | 00:11 | want straight grain, as if it is carefully
selected wood. We'll see this a lot with furniture.
| | 00:17 | I'll go back into my Liquify tool.
| | 00:19 | Notice that I'm going into Liquify,
doing some things and then returning it,
| | 00:23 | allowing it to think for a
minute and process that Liquify.
| | 00:27 | With too many things going on in
Liquify, occasionally Photoshop will hang
| | 00:31 | or freeze slightly.
| | 00:33 | I find it's better to do some warping,
come back out of it, and go back in.
| | 00:37 | Now I'm going to paint some knots.
| | 00:39 | For this I'll go back to the Bloat
tool, and I'll bring this Brush Size
| | 00:43 | down, maybe 300 or so.
| | 00:46 | I'll pull the brush over and see if it
looks big enough, and I think I'd like to
| | 00:50 | go a little bit bigger.
| | 00:51 | I'll pull this Brush Size up to 400,
again, leaving the Density and Rate low.
| | 00:56 | I'm not going to make the knots first,
actually. What I'm going to make is the
| | 01:00 | area of the wood grain that is bulged
or round around the knots. I'll go in and
| | 01:05 | very gently click with the bloat.
| | 01:07 | What we can see is
actually it's a little too small.
| | 01:11 | I need to undo this and make
that brush a little bit bigger.
| | 01:15 | I'll also take that Density and
Rate way down, here's 2 and 2.
| | 01:19 | I'm going to gently bloat open some spaces,
and I'll go in and add knots in a minute.
| | 01:26 | A little bit of bloat here puts in a
knot and sometimes we won't even see a
| | 01:30 | complete knot as much as
the space where a knot was.
| | 01:33 | I'll add this in trying to randomize
this as much as possible and recognizing
| | 01:38 | that I'm making a large section of wood
grain, not necessarily a singular board.
| | 01:44 | I'll put one more down here
and switch over to my Twirl tool.
| | 01:47 | I'll click in the Twirl
tool or press C for Twirl.
| | 01:51 | I'm going to take the Brush Size way
down, maybe 100, and I'll zoom in on
| | 01:56 | one of those knots.
| | 01:58 | Here in the knot, again pressing C for Twirl,
I want to twirl in a spot more than anything.
| | 02:04 | It doesn't have to be a full-on circle.
| | 02:07 | Occasionally, if we twirl too much,
we'll start to see them really pixelate,
| | 02:11 | it's more of a smudge in a direction.
| | 02:14 | I'll zoom out, zoom in again,
and twirl in another knot.
| | 02:18 | Really quickly I can start to make shapes
that we believe to be knots by twirling.
| | 02:24 | I'll increase this Density, Rate, and Pressure
just a little bit so it shows up a little better.
| | 02:29 | With a little more twirl, I
can make the knots in the wood.
| | 02:34 | I'll work my way through these,
twirling in knots and occasionally letting them
| | 02:38 | be really just zigs in the grain.
| | 02:41 | We don't want to necessarily see spots,
as much as we like to see round areas.
| | 02:48 | While I'm twirling in the knots, I'm
using Z to zoom in and Ctrl+0 to zoom
| | 02:53 | extends just like in the main body of
Photoshop. I'll keep twirling these in.
| | 02:59 | The trick in here is to twirl them in
without adding excessive ringing.
| | 03:04 | If you don't like the look, you can
always use the Reconstruct tool here in
| | 03:07 | Liquify to reconstruct that mesh or
cancel out, reenter it, and try it again.
| | 03:13 | Remember that this image is giant,
not only is it a large section of wood,
| | 03:17 | it's 4000 pixels square.
| | 03:19 | So any detail that's in here is going to get
gently meshed together when we shrink it down.
| | 03:26 | I have got my knots in, and I'm
ready to accept this Liquify.
| | 03:30 | What I may do, depending on how these
look, and if they show up in too much of a
| | 03:33 | straight grain is either Twirl or
Bloat a little more space around.
| | 03:39 | I'll also use the Forward Wrap tool
and increase that Brush Size. Here it is
| | 03:43 | about 300, and I'm going to take these
knots and just push them a little bit.
| | 03:48 | I can bring this Brush Size up to let's
say 500. I'll just push them over, ever
| | 03:54 | so slightly so the wood grain
warps around the knots slightly.
| | 03:58 | I'll do this to some but not all of them and
make sure the direction changes occasionally.
| | 04:02 | This gives it a more natural
feel, as if there was a knot.
| | 04:06 | Well, knots are actually started by
branches, it's where the branch grows out
| | 04:10 | and so the wood grain needs to travel
around it, so I'll brush these around
| | 04:14 | mostly, making sure that it's got
some directionality around that knot.
| | 04:18 | Then I'll hit OK to accept that Liquify.
| | 04:22 | My wood grain is looking pretty good,
so I'll get in to adding color, and we'll
| | 04:26 | really see this come to life.
| | Collapse this transcript |
| Colorizing the grain and planning for stains| 00:00 | In this video I'll add color into the wood.
| | 00:03 | I have got my knots in and the
wood has been warped and changed.
| | 00:06 | So I have got good variation across the
grain, variation both in width and also in
| | 00:12 | value, making sure that there are
some dark and light areas in here.
| | 00:16 | Here's how I'll make the
color really come to life.
| | 00:18 | I'll press Ctrl+Shift+N to make a new
layer, and I'll name this new layer, Color.
| | 00:24 | I'll slide it underneath my original
layer 1, which I'll rename to be grain.
| | 00:29 | I'll pick my Color layer and pick the
color of the wood I want to have in there.
| | 00:33 | What I want to pick actually is not
the fully rich, saturated wood that I'm
| | 00:38 | intending, but rather a paler version.
In this case I'll work with a warm orange.
| | 00:45 | I'll fill this in with the Paint Bucket,
and then I'll set the over layer, the
| | 00:48 | grain, to a Color Burn.
There is the wood grain showing up.
| | 00:53 | Now I realize this is scorchingly vibrant.
| | 00:56 | It's burning in the color
based on the value of that image.
| | 00:59 | What I'm going to do is pick that under
color, press Ctrl+U and pullout the saturation.
| | 01:05 | I'll also pull down the lightness to get
towards the value of the wood I'm shooting for.
| | 01:10 | I can shift the Hue around if
it needs to be warmer or cooler.
| | 01:14 | I'll pull mine over in the rich brown range.
| | 01:17 | Pull down the Saturation and keep
that Lightness down a little bit.
| | 01:20 | I'm going to make fairly
dark wood on my furniture.
| | 01:24 | I'll click OK, and I'm going to add
in a little bit of value and color
| | 01:28 | variation across this grain.
| | 01:30 | Right now, what we're seeing is it's
roughly the same, it just gets darker.
| | 01:35 | I'll turn off my grain layer, press I
for Eyedropper and select that color.
| | 01:40 | Now instead of whatever the grain color
was I had, it's the correct color in the
| | 01:45 | foreground and the color layer.
| | 01:47 | I'll turn back on the grain, press B for
Brush and click on my foreground color.
| | 01:53 | I'm going to add in a little bit of variation.
| | 01:56 | I want pretty decent figuring in this
wood, so I'm going to change the Hue by a
| | 02:00 | drastic number, let's say 2 points.
| | 02:03 | I'll put a hue in of 35, and I'm
going to bring the Brightness down to 63.
| | 02:09 | It doesn't look like much of a
variation, but I'm going to under paint this
| | 02:13 | running in normal at about 70% or 80% Opacity.
| | 02:17 | I'll paint along that grain, and we'll start
to see that variation almost immediately.
| | 02:22 | Especially, when I paint on the
lighter areas, we can see that changing.
| | 02:26 | We want to keep it subtle, the idea
here is to keep it in the same range.
| | 02:31 | It is after all from one tree.
| | 02:33 | What I'll do is change this a few times,
again, changing the Hue ever so slightly.
| | 02:38 | In this case I'm going to go warmer,
let's say a Hue of 30, and I'll paint more.
| | 02:44 | This gives me a red tone in the wood.
| | 02:46 | I'll take out some of those
yellows I have got and warm it up.
| | 02:50 | I'm trying to follow the grain as well as I can.
| | 02:53 | It adds a good variation when we see it
not quite follow the grain exactly, as
| | 02:58 | the color should fade just a
little bit across the tree.
| | 03:01 | I'll add in a little more warmth here,
painting under that color burn grain layer.
| | 03:07 | You can add in a couple of different
paints, going lighter or darker or having
| | 03:10 | some more slight hue and value variation.
| | 03:13 | I'll add in one more, a little more of a
honey yellow here and see how this looks.
| | 03:18 | I'll take my Hue a little bit
higher, here it is at 40, which in this
| | 03:22 | range almost goes green.
| | 03:24 | I'll bring up the Saturation just a
little bit, and I'll paint and see what I get.
| | 03:29 | It doesn't look bad, but
it's not as warm as I'd like.
| | 03:32 | I'll undo and switch that color back.
| | 03:35 | I'll run my saturation at 35 and see
if this gets me anything different.
| | 03:40 | It's okay to experiment a bit.
| | 03:42 | We should be experimenting
and trying out different things.
| | 03:45 | What we'd like to see are
variations across here but only slightly.
| | 03:50 | We also don't want to have
it be garishly saturated.
| | 03:54 | This is rich figured wood here, almost too much.
| | 03:57 | What I'd like to do then
is adjust the over layer.
| | 04:00 | My color is actually a very subtle painting.
| | 04:03 | You just barely can see
some of the stripes here.
| | 04:06 | What I would like to do then is go into that
grain layer and just mute it down a little bit.
| | 04:11 | There's a couple of ways to do this.
First, I can pull down the opacity.
| | 04:15 | It changes it, but it also seems to
desaturate or screen it with a bit of white.
| | 04:20 | We could change the blending mode,
instead of a Color Burn, trying out a Linear
| | 04:24 | Burn, alternately, we can switch away
from our darkening blending modes to
| | 04:29 | something that lightens.
Here's a soft light as an example.
| | 04:33 | This is useful for the things like
older or similar woods where they tend to be
| | 04:36 | lighter and softer looking.
| | 04:38 | If we run a multiply, it's interesting,
it's not always my preferred blending
| | 04:43 | mode for this, as it tends
to introduce a lot of black.
| | 04:46 | However, there is a place where this is useful.
| | 04:50 | I'll pick my color layer
just as an example and clone it.
| | 04:53 | I'll take this color copy,
turnoff the original and desaturate it.
| | 04:58 | What this lets me make, running here as
a multiply and maybe darkening the under
| | 05:02 | color is something like cerused oak,
where it's got a deep black pigment rubbed
| | 05:07 | into it after the grain has
been hit with a white filler.
| | 05:11 | Sometimes we need things that
are fairly desaturated like this.
| | 05:14 | We can always desaturate that under color, come
back and colorize it and move those colors around.
| | 05:22 | We can get all sorts of looks and
really what I'm doing here is playing with it
| | 05:25 | to get the stain in the right place.
| | 05:28 | Seeing how much of the grain do I want to
show and how much color variation do I need?
| | 05:33 | I can go from highly figured wood,
wood that's got a lot of charcoal or black
| | 05:37 | in it, wood that's almost all gray, even
dealing in, well, the fully saturated rich wood I had.
| | 05:44 | Here it is the Color Burn, and I think
what I'll do is just go under my Levels
| | 05:48 | a little bit, choosing Image >
Adjustments > Levels, and pull this around just
| | 05:54 | pulling out some of the deepest colors in
there, so it goes a little bit brighter.
| | 05:57 | As I pull this back and forth. I'm
reducing the range of that over layer
| | 06:03 | so that the wood grain is a little more
uniform and maybe not quite as bold as
| | 06:07 | the red and yellow variations.
| | 06:10 | I'll click OK and see if I need to
adjust the color on the color layer at all.
| | 06:14 | I'm going to warm mine
up just a little bit here.
| | 06:17 | Just so it's got a little more
red in it without being drastic.
| | 06:20 | A few points goes a long way
because of that blending mode.
| | 06:24 | I'll bring it down in lightness, and
there is that rich red brown wood I'm going
| | 06:29 | to use in my furniture.
This is, again, a working texture.
| | 06:33 | What it means is that you
should make this and make a library.
| | 06:37 | We have this, and we can cut boards out of it,
use it as a floor or use it in furniture.
| | 06:42 | But this is 4000 pixels square, so
we're going to reduce it, but we want the
| | 06:46 | detail available to be able to make a
large section of wood, something that'll
| | 06:50 | go over our six foot planks easily.
| | Collapse this transcript |
| Cutting out boards for a UV layout| 00:00 | In this video I'll take this large
raw working wood texture I have made,
| | 00:05 | and reduce it in size.
| | 00:07 | I'll also put in some stain variations and make
the start of a texture sheet for my furniture.
| | 00:12 | This image is fairly big.
| | 00:13 | Remember we're dealing in something
here that is 4000 square, so we don't want
| | 00:18 | to take this in as a texture, as
it'll overwhelm Maya and Unity.
| | 00:21 | What I will do when I'm making a texture
sheet is to reduce this down and take some layers.
| | 00:27 | I got my working PSD saved, and
it's a good practice to get into this.
| | 00:31 | Saving a working PSD in a different
directory, that way when we go into Unity
| | 00:36 | it doesn't look to import it from
let's say our Assets directory, and Maya is
| | 00:40 | not looking to giant PSDs and trying to
preview them or select them from source images.
| | 00:45 | Now I'm ready to get this together.
| | 00:48 | I'm going to look at my table
reference and see what colors I need.
| | 00:51 | This is more of a brown, and I can see
in the chairs adjacent they're a similar
| | 00:55 | brown with some lighter yellows.
My other chairs are in similar ranges.
| | 00:59 | I'm going to make a couple of different
wood stains and set up a texture sheet,
| | 01:05 | that way we can have some
variation across the chairs and table.
| | 01:09 | First, I'll downsize this, pressing Ctrl+Alt+I
and reducing this down in a couple of steps.
| | 01:15 | We could take this and downsize it to
1024 as an example, but it might mash the
| | 01:20 | colors together a little too much.
What I'll do is take it down in pieces.
| | 01:24 | First, going down from 4000 square to 3000,
then I'll do it again from 3000 down to 2000.
| | 01:33 | Finally, I'll do it one more time down to 1024.
| | 01:38 | Notice when I'm resizing,
I'm using the Bicubic here.
| | 01:41 | This is actually a smooth gradient,
and rather than staying sharp with the
| | 01:45 | bicubic sharper, I'm allowing the
resizing here to blend those colors for me
| | 01:49 | gently and also gets rid of any
artifacts I had put in by the grain.
| | 01:55 | I'll zoom in by pressing Ctrl+0,
and there is that wood grain.
| | 01:58 | When I zoom in and take a look at full
magnification, I can see the grain is
| | 02:02 | nice and soft looking, and I have
still got my layers here for flexibility.
| | 02:06 | Now I'm ready to add some variation.
| | 02:09 | My thought is that I'd like to have
most of this devoted to the table, as
| | 02:13 | it's the largest pieces.
| | 02:14 | But I'll take some of the wood over
on this side where there are fairly few
| | 02:18 | knots, and I'll add a
slightly different tone in the stain.
| | 02:21 | I'll press M for Marquee, and I'm
going to use a fixed-size marquee here.
| | 02:26 | I'll make the Width 256 and the Height 512.
| | 02:31 | I'll land this marquee in the lower
left, and on my color layer press Ctrl+U.
| | 02:36 | I'll adjust the Hue and Lightness in this a bit.
| | 02:39 | I'm going to add in a dark
section of wood for my round chair.
| | 02:43 | I'll take the saturation down a little
bit, so it's more of a yellow to brown
| | 02:47 | versus red to brown.
| | 02:49 | I'll click OK on it, and then
I'll land a section up top here.
| | 02:53 | This will be something, maybe more in the
warm range I can use on parts of the other chair.
| | 02:59 | Again, I'll press Ctrl+U and adjust
that hue and saturation just a little.
| | 03:03 | A few points goes a long way.
| | 03:06 | I bring up the lightness slightly and
pull back the saturation just a little bit.
| | 03:12 | What I'll also do in this section is
go into the grain and just adjust the
| | 03:17 | levels a little bit or maybe
brightness/contrast to pull out some of that
| | 03:21 | really severe dark grain.
| | 03:23 | Under Image > Adjustments I'll choose
Brightness/Contrast, and in this one
| | 03:27 | section just reduce down the Contrast a touch.
| | 03:30 | If it's not moving enough, you can always
use the Legacy, and pull that out just a bit.
| | 03:36 | A little bit goes a long way, but with a
little less grain it looks a little better.
| | 03:41 | It's got a rich subtlety to the grain
and a more uniform color for that chair.
| | 03:45 | My table will have some pretty good grain going.
If you'd like, you can keep adjusting further.
| | 03:51 | I might do one last adjustment.
| | 03:53 | It looks like the grain is a little
too jumpy. To get the size right, I'll
| | 03:57 | change the width of my marquee.
| | 03:59 | In this case, instead of 256, I'll change
the Width of my fixed size marquee to 768.
| | 04:05 | I'll land this marquee over here on
the right, and it looks like I need to
| | 04:09 | adjust the Height as well
to catch the whole thing.
| | 04:11 | I'll put this at 1024 and hit Enter.
| | 04:15 | There's my fixed size marquee
over the rest of the wood grain.
| | 04:18 | I'll take this and just pull
out a little bit of the Contrast.
| | 04:22 | With my Use Legacy on, I'll pull some
contrast out of this, just making it a
| | 04:27 | little bit less jumpy.
| | 04:29 | I'll deselect by pressing Ctrl+D, and now
there's that wood grain texture I can use.
| | 04:35 | I'll save my working PSD as another file name.
| | 04:38 | This way I have got an adjustable of
the right size, a full-size 4000 square
| | 04:43 | adjustable, and then I'll
flatten out a TIFF to use as a texture.
| | 04:47 | I'll save this one out as 05_07_end.
| | 04:51 | There's the PSD, and I'll do another
Save As pressing Ctrl+Shift+S, saving out
| | 04:56 | as a TIFF, and this one I'll land in my Maya
project, Game Props in the sourceimages folder.
| | 05:02 | I make sure I uncheck Layers and save as a copy.
I'll click Save and let the compression be none.
| | 05:10 | I'm going to let Unity handle the compression,
so I'm going to run these out with no compression,
| | 05:14 | so I'm not doubly compressing.
I'm ready to try this out in Maya.
| | 05:19 | I may also need to add some wear and
tear to it, but I'll get this on in the
| | 05:23 | next video and see how those shells look.
| | Collapse this transcript |
| Adding patina and wear to a final texture| 00:00 | In this video I'll take the wood grain
I have just finished and apply it to my
| | 00:04 | objects here in Maya.
| | 00:06 | I'll probably need to move some of
my UV shells around as I expected.
| | 00:09 | And once they're in place, and I have
checked them out, I'll clone objects over
| | 00:13 | and finish out the chair that's
standing somehow on two legs over there.
| | 00:17 | I'll pick any object and
look at the material attributes.
| | 00:20 | I'll go into the Color and swap out the texture.
| | 00:24 | For this exercise I'm using the
texture that corresponds with the file.
| | 00:28 | I'm in exercise 05_08, and
so I am using 05_08_start.
| | 00:33 | This is the image I have saved out of Photoshop,
and I may need to add on patina, or wear and tear.
| | 00:39 | I'll click Open, and I can see
obviously that some of the boards are in the
| | 00:42 | wrong place. Because I haven't moved
the shells around, we're seeing some dark
| | 00:46 | textures on top of my table.
| | 00:48 | First, I'll look at the
chair and see how this came out.
| | 00:52 | When I pick pieces on my chair and go
under Edit UVs in my Texture Editor, I'll
| | 00:58 | show that image, and there's that wood.
| | 01:00 | My thought is that this chair is
going to occur largely in the upper left
| | 01:04 | quadrant where I had toned
back that wood have been.
| | 01:07 | I am going to pick my Move UV Shell tool,
select this shell and scale it down.
| | 01:13 | As I scale it down and then move it over,
we can see the wood grain showing up
| | 01:18 | on this top I have got selected.
| | 01:20 | I'll scale it in to make sure it's
in the right place and pull it over.
| | 01:25 | It looks pretty good.
| | 01:26 | What I need to make sure of is
that I'm just inside that area.
| | 01:30 | As long as it's inside
I have got a lot of flexibility.
| | 01:34 | What I am also checking on is as I take each
piece, does it have enough grain across it.
| | 01:39 | My big concern is the long leg and back.
| | 01:41 | Here is this side, and I'll pull it down, and
it looks like I forgot one small piece there.
| | 01:47 | We can see up at the top of this
line with UVs on and what that means is
| | 01:51 | somewhere in there is a face I have left.
| | 01:54 | I'll fix that. I'll press F11
for Face and select those faces.
| | 01:59 | I'll hold Ctrl and deselect the middle.
| | 02:02 | Then I'll press Delete,
and now that UV is clean.
| | 02:06 | Now I'll pick that shell
and put it in the right place.
| | 02:11 | I'll repeat this with each of my pieces,
taking these UVs, scaling them down,
| | 02:16 | and stacking them in.
| | 02:18 | I'll move this one in. This is the
front stretcher, and now here's the side.
| | 02:23 | It'll take just a few minutes to get
these in and stacked, but we'll really see
| | 02:26 | it start to show up nicely.
| | 02:28 | As I get the stretchers and other pieces
in, we get the wood grain in the right size.
| | 02:32 | Now for the big test on the legs, I can
see that this leg is scaled enormously,
| | 02:37 | which is fine, it was part
of the laying out process.
| | 02:40 | I'm going to make it as tall as I can,
and I'll judge if I have enough texture
| | 02:45 | available to get the grain the right size.
| | 02:48 | It looks pretty good. It looks like I have got
enough grain going on that leg to be believable.
| | 02:53 | Here is the side stretcher, grabbing
it, pulling it and scaling it down.
| | 02:59 | I don't mind if it's a little off-
kilter. That's okay because well it's
| | 03:04 | underneath, and it is on a bit of an angle.
| | 03:07 | If it really needs attention I can rotate it over,
but I think the wood is in the right direction.
| | 03:12 | Now for the back leg, I have selected it,
and we can see two things going on here.
| | 03:18 | The large polygon is
actually the foot underneath.
| | 03:21 | What I'll do is pick this shell and
just move it out of the way, this way I can
| | 03:26 | see what I'm doing clearly.
| | 03:28 | I'll pick the leg shell,
pull it over, and scale it down.
| | 03:31 | I'm going to try to make this as tall
as possible in that area, and I'll bring
| | 03:38 | it in, move it over and
put it in the right place.
| | 03:43 | Back here in Object mode, I'll turn off
the Wireframe on Shaded and look at my chair.
| | 03:48 | Except for the seat, it looks like the
wood grain is well looking like wood, and
| | 03:52 | I have got good variation across it.
| | 03:54 | I may want to slide the back around a
little bit or move the UVs slightly to
| | 03:58 | avoid a little bit of a stretch.
Now I'll deal with the seat.
| | 04:02 | I have got my seat in a couple of different parts.
| | 04:06 | There is the bottom, and as long as I move
this over, I think it will look pretty good.
| | 04:10 | I'll take the main seat portion, scale it
down and see if I need to break it at all.
| | 04:16 | It's very likely that this seat is put
together from boards that are laminated.
| | 04:20 | So one option here to get enough grain onto it
is to actually break these UVs and stack them in.
| | 04:27 | I'll try it just scaling it
across and seeing how it looks.
| | 04:30 | I'll scale it down, move it
over and see if it holds up.
| | 04:35 | Move it over and put it in the right place.
| | 04:39 | I think it looks pretty decent, although for my
taste the grain is getting a little bit large.
| | 04:44 | It seems like it's stretching a bit, so
I will take that second option, and it's
| | 04:48 | really okay to do this.
| | 04:50 | I'll zoom in, right-click, pick Face,
press W for Move, and select half the seat.
| | 04:56 | I am going to say there is a joint
right across here, and I'll add to this
| | 05:00 | selection these small faces in front.
| | 05:03 | With the faces selected I'll
choose Polygons and Cut UV Edges.
| | 05:09 | I'll split those off as a separate shell.
It's okay to have an asymmetric lamination.
| | 05:15 | There is a seam in the middle that we can
pretty well camouflage because of the grain.
| | 05:20 | I'll merge these UVs together, and then
I'll take these shells and stack them over.
| | 05:25 | I'll pick one, grab it and pull it.
I'll take the other, pull it into place.
| | 05:32 | Then take both of them the
same time and scale them up.
| | 05:36 | I am making sure I take both so that as
I scale them, and it looks like I missed
| | 05:40 | one there, that the grain stays the same size.
| | 05:43 | I'll make sure I have got my
Move UV Shell tool selected.
| | 05:47 | I'll grab both shells and press R for Scale.
Now they are all going together.
| | 05:53 | I'll get them as big as I can stacked
over here, move them down and then pick
| | 05:58 | one of them and pull it up.
| | 06:00 | I'll make sure I have got my Move UV
Shell tool on, and I'll pull this one back.
| | 06:06 | This way I get a different grain side to
side and no obvious mirroring or repetition.
| | 06:12 | I'll make sure this shell stays within
that boundary, and it looks like I have got
| | 06:16 | it in pretty nicely.
| | 06:17 | Finally, I am going to take
the ends and put them in place.
| | 06:21 | I'll grab it, pull it over, pull the
other one in, pick both and scale them down.
| | 06:29 | These need to fit on diagonally as big as
possible and still having diagonal grain.
| | 06:34 | My chair is ready. I'm ready to
clone the other pieces over and repeat
| | 06:38 | the ladder in the back.
| | 06:39 | The wood grain is the right size, and it's
ready for patina and general wear and tear.
| | 06:46 | Looks like I have one last piece to
do back here to unwrap, but that's
| | 06:49 | pretty straightforward using an
automatic unwrap, Moving and Sewing, and
| | 06:53 | laying into this area.
| | 06:55 | When you're working in separate elements
and stacking UVs, it's very easy to add
| | 06:59 | and subtract as you need, fine tuning
that final look to get it looking right.
| | 07:04 | To add wear and tear on, what I might do
is return to Photoshop and brush in some
| | 07:09 | darkness on one side, letting it skip
around on the wood just a little bit.
| | 07:14 | I have got my latest PSD open, and I am going
to add in a little bit of textual variation.
| | 07:20 | I'll press M for Marquee and go back
to my fixed size marquee at 256x512.
| | 07:26 | I'll land this marquee in
the top left where my chair is.
| | 07:29 | And I'm going to put a new layer
over, which I'll rename to dirt.
| | 07:35 | What I'll do for dirt is
eyedropper one of my colors in here.
| | 07:38 | I am going to pick one of my deeper red browns.
| | 07:42 | I'll press B for brush, downsize the
brush considerably as it was fairly
| | 07:46 | enormous and make it a Multiply.
| | 07:49 | I'll Multiply at a very,
very slight opacity, 10% or less.
| | 07:54 | And I'll just brush over a little bit
of darkness here, and there, smudging the
| | 07:58 | wood in places, adding in a
little bit of smudge and variation.
| | 08:02 | There will be UVs that pass over this that
have just a little bit darker areas than others.
| | 08:08 | That's all I really need. I'll
save this out and see how it looks.
| | 08:12 | Pressing Ctrl+D to deselect
and saving a flattened TIFF.
| | 08:16 | I'll make sure I save my working PSD first, so I
can always come back to it if I need to change.
| | 08:22 | I'm saving my working TIFF out
in my sourceimages directory.
| | 08:26 | I'm saving it as a copy with no layers. I'll
click save and bring it in with no compression.
| | 08:32 | I'll go over to Maya and load up
that TIFF and see how it looks.
| | 08:36 | Here in Maya with any object selected
I'll go into the Color, pick that file
| | 08:40 | folder, and grab that latest TIFF.
| | 08:44 | I'll check this out in Viewport 2.0,
making sure that I turn on in the dialog
| | 08:49 | for Viewport 2.0 in the
Settings my Anti-aliasing.
| | 08:53 | It's enabled, and if you'd like to
see it with Screen-space Occlusion,
| | 08:56 | turned that on as well.
| | 08:58 | I'll put a light in and see if
this wood is actually working.
| | 09:01 | Choosing Create > Lights > Point Light.
| | 09:04 | A lot of times I'll use a Point Light
as just a test just to pull it around and
| | 09:09 | see if it really works.
| | 09:11 | I'll pull it up, press 7 and
show that light in the view.
| | 09:15 | As I pull it forward and pull it over,
we can see the light shining on the wood.
| | 09:20 | I'll pull this up a little bit and
maybe increase the intensity just a
| | 09:23 | touch, here it is at 2.
| | 09:26 | It's a little bright, but I can
definitely see wood grain and some dirt on it.
| | 09:31 | It's working nicely and is very believable
as, well, the wooden chair I expected to model.
| | 09:37 | I'm ready finally to clone this.
| | 09:39 | Cloning the pieces over, moving the
shells around if needed and applying the
| | 09:43 | wood grain on my other objects--
| | 09:45 | again, reducing their shells in size,
matching them on to the texture area I have
| | 09:49 | designated for let's say round chair or
the table, and having wooden furniture
| | 09:53 | to populate my scene.
| | 09:55 | This is done with a hand-painted texture,
and it's important to be able to do so.
| | 10:00 | We can't always get a picture of
what we want, and we can't always find a
| | 10:03 | picture online of what we want either.
| | 10:05 | A lot of times also your art director
may come in with a very custom piece he
| | 10:10 | or she is expecting.
| | 10:11 | A certain stain on a certain piece in a
certain size, and there's simply nothing
| | 10:16 | like that earthly available.
| | 10:18 | So we need to get in there and paint it.
| | 10:20 | Paint it big and start
yourself a library of textures.
| | 10:24 | Really quickly you can build up as I
have several hundred wood grains that you
| | 10:28 | can use and reuse and that
are unique to you and your game.
| | Collapse this transcript |
|
|
6. Workflow and IntegrationUnderstanding the importance of a low poly count| 00:01 | In this chapter I'll look at a workflow
going between high poly and low poly in Maya.
| | 00:06 | What we see a lot of times is we need a
good low poly foundation, and then we'll
| | 00:10 | make a high-poly version, beveling and
extruding additional detail into a model,
| | 00:16 | and then, finally, baking out or
rendering from high poly to low poly in a
| | 00:20 | Projection to produce a normal map,
which makes the low poly look like it's got a
| | 00:25 | lot of extra detail.
| | 00:27 | These are fairly low-poly models. As
an example, on this table I've modeled
| | 00:31 | out the planks, and my poly count is really
not bad because all the edges are straight.
| | 00:37 | What I have done to add variation is
instead to disturb the silhouette by
| | 00:41 | pulling the edges back and forth.
| | 00:43 | To test this and really see what the
poly count is doing. I'll choose Display >
| | 00:48 | Heads Up Display > Poly Count.
| | 00:51 | In here I'll select my table, this
whole table comes in at 112 faces. The whole
| | 00:58 | scene is 862, which for this much
furniture is really not bad.
| | 01:05 | We can view this and either faces or
tris and even at 224 tris for this table
| | 01:10 | I've got pretty good detail going on.
| | 01:12 | I've also got a good edge flow, a major
contributor to this is building it in pieces.
| | 01:18 | It's very easy to take a giant block
and try to sculpt something out we can
| | 01:22 | subdivide and take away pieces easily.
| | 01:25 | However, this kind of thing, a table,
is built in pieces and assembled with
| | 01:30 | fasteners or joinery, so to build it
like this gives us a really good edge flow.
| | 01:35 | As an example, this is a Poly Cube I've
modified it, unwrapped it, and stretched it.
| | 01:40 | But it's very easy to take this and
subdivide it, beveling edges, and pushing in
| | 01:45 | corners to wear away at the wood.
| | 01:48 | We can take this in project those
normals easily onto a low poly, and I've got
| | 01:52 | a good unwrap on it.
| | 01:54 | What I may see in this kind of
workflow is either a different unwrap instead
| | 01:59 | of stacking UVs starting to see some
unique pieces in one area of my texture sheet.
| | 02:04 | What I also may see is a general area of
dense that I will map on to here. As an
| | 02:10 | example, what I may end up doing is
putting in tool marks all across the surface.
| | 02:15 | Designating a piece of the texture
sheet for, well, the top that's been marked,
| | 02:19 | scraped down, or planed, or something similar.
| | 02:24 | For this table, what we might see on the
roundtable top here are beveled edges
| | 02:28 | rounding over these corners and having
a more unique unwrap. This table is large
| | 02:33 | enough it might be a
centerpiece and need its own texture.
| | 02:36 | Sharing the same wood color, but
needing a different normal map.
| | 02:39 | In all though, I'm striving to keep
my Poly Count low, and here's why.
| | 02:45 | Very quickly we can have a lot of
objects running around a game, and even though
| | 02:49 | poly counts are maybe not as
religiously as important as in previous years.
| | 02:54 | There is still an importance in having
just the right amount of geometry and
| | 02:58 | maximizing our texture space.
| | 03:01 | I'll show one last example here, to
illustrate how quick Poly Count gets out of control.
| | 03:05 | I am going to pick my
chair and deselect the light.
| | 03:10 | I'll take this chair and
put it next to my table.
| | 03:13 | It looks like I did actually model
these things at the right size. I'll put the
| | 03:17 | pivot for the chair centered on one of
the legs, so I can rotate the whole thing.
| | 03:22 | I'll make sure I'm rotating by
the world axis and spin this over.
| | 03:27 | Watch what's happens to
the Poly Count in the scene.
| | 03:29 | I'll make sure I am
zoomed out to see everything.
| | 03:32 | Right now, in my overall Poly
Count I am looking at 1700 tris.
| | 03:36 | I'll press W for move, Ctrl+D
to Duplicate, and pull this over.
| | 03:41 | I'll duplicate it again,
and there are three chairs.
| | 03:45 | I'll rotate one to sit at the head.
| | 03:49 | I'll pull this in, duplicate it, and
pull it back. Rotating it one more time
| | 03:54 | to sit this opposite.
| | 03:58 | I'll need to move over the roundtable,
but very quickly I've added 700 more tris.
| | 04:04 | This gets very big very quick, and
we're going to have a lot of things in our
| | 04:08 | scene because if you look around the
world there is, well, a lot of stuff.
| | 04:12 | And it's not necessarily special stuff
it's just things, things we use in our
| | 04:16 | everyday lives that we have multiples of,
like multiple chairs around a table,
| | 04:21 | multiple tools in the Toolbox.
| | 04:23 | Whatever it is we end up seeing a lot
of pieces, and we need to watch out how
| | 04:28 | many polys each one has, because very
quickly we're going to duplicate them
| | 04:31 | and use them around.
| | 04:32 | We need a good workflow, a good low poly
structure, and things assembled in parts.
| | 04:37 | And finally, optimizing the amount of
polys is crucial, making sure we have got
| | 04:42 | the right amount of silhouette showing
without breaking the bank in poly count.
| | Collapse this transcript |
| Overview of normal maps| 00:01 | In this video I will give a brief
overview of a normal map showing what it does
| | 00:05 | to the wood table, when I
had some relief to the surface.
| | 00:08 | Right now in the scene, these are flat.
| | 00:11 | What this means is that although it's
got a color in it which looks like wood,
| | 00:16 | this Blinn material is
exactly flat and uniformly shiny.
| | 00:21 | If I take my light and move it over in
the scene, turning on the high-quality
| | 00:25 | display and pressing 7 to show lights.
| | 00:28 | When I pull this up, we can see that
well it's a flat surface, and as I pull
| | 00:33 | that light back and forth, we can
just see the cracks in the table.
| | 00:37 | What we will see in most game
objects is that we have a diffuse map and a
| | 00:41 | normal, so the surface looks like it has
some variation Because we are dealing
| | 00:45 | in low poly objects, we need to make sure
they look as well real and textured as possible.
| | 00:50 | I will go over to Photoshop and make a
couple of different maps to illustrate this.
| | 00:55 | Here in Photoshop.
| | 00:56 | I've got the Wood texture
I had created previously.
| | 00:59 | What I am going to do is to turn off
the dirt and turn off the color, leaving
| | 01:04 | me with just my grain.
| | 01:05 | I am going to first export this out as a
bump and show what just a straight dump
| | 01:09 | map looks like in light.
| | 01:11 | Then I will make a normal map
and look at the difference between.
| | 01:14 | I will save this out as a flattened tiff,
picking tiff, turning off layers, and
| | 01:20 | calling this 06_02_B_end.
| | 01:26 | I'll put it in the source images
that way I can find it quickly in Maya.
| | 01:29 | Now I am going to make a normal map.
| | 01:33 | In a Bump map, white is high and black
is low, and it's not a specific unit, it
| | 01:38 | just means that the surface looks like
it pops out more, it's got some relief,
| | 01:42 | but bump maps are one direction, up and
down, which means they may look a little
| | 01:47 | jagged and what should be the side of a surface.
Now I will make a normal map.
| | 01:51 | What I will do is to clone this layer,
and I'm going to use xNormal here.
| | 01:56 | I'll switch this layer back over to a
normal as you can see when I cloned it,
| | 02:00 | because there was a color burn, they
burned in, and it got a little odd looking.
| | 02:04 | I will choose Filter > xNormal >
Height2Normals, we've also got the
| | 02:10 | NVIDIA normal map tools and
really the difference in those is the
| | 02:14 | softness of the normal.
| | 02:15 | We may want a slightly harder or
softer normal or a different scale.
| | 02:20 | If it gives you the right look
whichever filter you use is just fine.
| | 02:23 | I will use Height2Normals out of xNormal,
and it will pull up the xNormal dialog.
| | 02:29 | In the xNormal preview, I can just see
a little bit of variation across there.
| | 02:33 | What we are dealing with here in a
normal is first how smooth is it.
| | 02:37 | Normal maps tend to look better with a
little bit of smoothing on them, although
| | 02:41 | if we want it to be a little more
jagged, we can reduce this number.
| | 02:45 | Our method of sampling here
determines the quality and how is it sampled.
| | 02:49 | A little bit higher like a 5x5 may take a
little more time, but be a little bit finer.
| | 02:53 | I am going to leave mine at the default
4SAMPLES, as this is pretty good all over.
| | 02:58 | If we need we can swizzle the colors.
Swizzling will do things like flipping red
| | 03:03 | and green. Red and green in the Normal
map give you surface direction, making
| | 03:07 | the surface look like not only is it
going in and out, but reorienting to angle
| | 03:13 | and reflect the light appropriately.
| | 03:14 | I will leave this at the
default and hit Continue.
| | 03:18 | What I get is a largely blue
rainbow colored map, we will call it.
| | 03:22 | I will zoom in and take a quick look,
and we can see the wood grain, and there
| | 03:27 | is our red and green colors showing up.
| | 03:29 | In a normal then blue is strength
and red and green are direction.
| | 03:32 | I'll save this one out as well as a
tiff and bring them into Maya to compare
| | 03:36 | and contrast, I will turn off Layers and call
this 06_02_N_end, so I can see both of them.
| | 03:45 | Here in Maya, I am going to make a
different material for the normal and the bump.
| | 03:49 | I'll put it on planks adjacent on
this table, so we can really see the
| | 03:53 | difference in the light.
| | 03:57 | I'll pick the first two planks and
assign a new material to them using a Blinn.
| | 04:01 | I will pick Blinn, and I will put
in the color I have already got.
| | 04:06 | I will click on the Color
texture and in this Blinn,
| | 04:09 | I'll put a file in. In the File node
I will put in the latest color texture
| | 04:13 | 06_02_start, and there's
that wood grain I had made.
| | 04:18 | Right now, my planks look,
well, just like they were.
| | 04:20 | I will go up to the Material, and I'll
name this Blinn, notice that above the
| | 04:25 | Blinn is that shading group, and
there's the Blinn material in it.
| | 04:29 | If we need additional properties, such
as Counter Rendering in mental ray we
| | 04:33 | can go into the Shading group.
| | 04:35 | But just so you know what you're seeing
if you go up one node too far, it's just
| | 04:39 | the shading group that governs that material.
| | 04:41 | I'll name this one Color, meaning
it's just the straight color material.
| | 04:46 | Now I will put another new Blinn on
the middle two planks assigning a new
| | 04:50 | material and choosing Blinn.
| | 04:52 | I'll put my color in the same image
choosing by file 06_02_start color.
| | 04:58 | I will go up one level and call this one bump.
This will get the grayscale bump image.
| | 05:05 | I'll scroll down to the bump mapping
and click on the texture, adding in a file
| | 05:09 | and going into the File node.
| | 05:11 | In that File node, I will put in
the 06_02_B the grayscale bump.
| | 05:16 | Here in the bump2d node it's
regarded as a bump and then use as dropdown.
| | 05:21 | We can already see a difference here
and the wood grain is pretty strong.
| | 05:25 | I will name this material Bump.
| | 05:28 | I will pick the last two boards and
assign one more material to them, again,
| | 05:34 | assigning a Blinn not changing any of
the properties and putting in the color,
| | 05:39 | in goes that same color file.
And now I an going to put the normal map in.
| | 05:46 | I'll go up to the root material, scroll down
to the bump mapping and click on the texture.
| | 05:51 | Into the File node, I will put in my normal map.
| | 05:54 | There is the normal, and once I put it
in, I need to make sure under Use As, I
| | 06:01 | tag it as Tangent Space
Normals, there's a subtlety to it.
| | 06:05 | What we can see in here is that the
wood grain has pretty severe relief of the
| | 06:10 | bump. I didn't change the strength of
the bump at all and so the normal map may
| | 06:14 | have been a bit muted.
| | 06:15 | However, more importantly, the bump
map tends to be very jagged looking, the
| | 06:19 | normal map has a subtlety to it as the
wood waves up and down, the surface is
| | 06:23 | reorienting in the light.
| | 06:27 | I'll move my light back and forth,
selecting that point and pulling it forward.
| | 06:32 | As I pull it over, you can
really see that surface change.
| | 06:36 | To illustrate this just a little bit
further I'll pick one of the board with a
| | 06:39 | normal map material on it,
which I need to name normal as well.
| | 06:45 | I'll go into that bump map section
and go up to the output connection which
| | 06:49 | is the bump2d node.
| | 06:50 | I will push up this depth, we may need
in our normals to bring this depth up a
| | 06:56 | little bit, assuming they'll run at a
strength of one once we get them in game. And so
| | 07:00 | when Photoshop is part of the export,
we may need to increase that scale.
| | 07:04 | With it selected, and bringing my light
back and forth, we can see a surface variation.
| | 07:09 | When I bring the light down to the
surface and pull it over, we can really
| | 07:14 | see that in action.
| | 07:15 | As I pull this, we can definitely
see that the wood has a really pleasing
| | 07:19 | variation, it's not nearly as
granular or gritty as the bump section.
| | 07:24 | But definitely is
different from the straight color.
| | 07:27 | Here's a last test.
Instead of a point line,
| | 07:30 | I'll use a spot. I will make it a
spotlight by using the dropdown, press E for
| | 07:35 | rotate, and swing that light
down to focus on the table.
| | 07:37 | I will pull down my notes and
change the Cone, Penumbra, and Dropoff.
| | 07:42 | I will these at 75, 5, and 5. Making
the light bigger and softening it out.
| | 07:47 | I will grab this light,
pull it up, and angle it a bit.
| | 07:53 | This is much more typical of
what we would see in a game.
| | 07:56 | Where we will see this kind of light
angled over and softly on a surface.
| | 08:00 | As I pull this around, we can really
see a difference in the normal map,
| | 08:04 | it's got a subtlety to it and a small
bit of wave versus the bump is, again,
| | 08:08 | very gritty looking.
| | 08:13 | I will pull the drop-off down on the
light just a little bit, and cast it in
| | 08:16 | even further relief.
| | 08:21 | I will switch over to viewport2.0, and
this really displays things as accurately
| | 08:25 | as possible in the way
they will be seen in game.
| | 08:29 | As I rotate my light over, we can really
see that the normal map has a nice feel
| | 08:33 | to it, without being excessively, well,
big like the bump, but it's still got a
| | 08:37 | difference in it unlike
the way that color looks.
| | 08:41 | As I spin around, you can
really see this clearly.
| | 08:44 | The normal map has a smoothness to it, as
if the wood has been worn away over time.
| | 08:49 | Normal maps then are a great way to
add realism to a game, we tend to be much
| | 08:53 | more forgiving of hard edges, if we see
softness in the middle of the surface.
| | 08:58 | They also allow the light to
really change as we spin around.
| | 09:02 | As I look more at the light we can really
tell a difference the bump and the normal.
| | 09:06 | Normal maps give us strength plus
direction. Bump maps only give us strength and
| | 09:11 | tend to look jagged.
| | 09:13 | We may see normal maps used in
conjunction with bumps where the bump map takes
| | 09:17 | care of small details and the normal map
takes care of the overall, we will call
| | 09:21 | it contour, but it's really the
overall rise and fall of the surface.
| | Collapse this transcript |
| Overview of the high-poly projection pipeline| 00:01 | In this video I'll look at the pipeline for
a high poly to low poly bake or projection.
| | 00:06 | Right now, we can see I've got a
normal map, actually a comparison of bump,
| | 00:10 | normal, and straight color on my table.
| | 00:12 | It looks really good in the boards,
especially here with the normal map
| | 00:15 | where it's nice and soft.
| | 00:17 | However, the edges of the boards are
still very crisp, and it's a little
| | 00:21 | disturbing that when we spin around this
we can see that the top has a lot of
| | 00:26 | detail, but the boards are perfect,
even though I've disturbed them slightly by
| | 00:30 | putting in some cracks.
| | 00:31 | One of the things I can do is to
look at a high poly model, taking the
| | 00:36 | original low poly based on a good
edge flow, separating out the unwrap and
| | 00:41 | then modeling high poly elements.
| | 00:43 | Projecting them here in Maya and using the
normal map to disturb the corners. To start,
| | 00:49 | I'm going to separate out
some of the unwraps here.
| | 00:52 | One of the things we need to consider
is if we're baking, do we have unique
| | 00:57 | unwraps or are we stacking.
| | 00:59 | I'll pick my table elements and hide the
chairs temporarily and see how these layout.
| | 01:04 | I've selected all the table elements,
holding Ctrl to deselect parts of the chair.
| | 01:09 | Now I'll choose Display >
Hide > Hide Unselected.
| | 01:13 | I'll press 6, that takes me back to
shaded and hardware textured without the
| | 01:17 | lights, and I'll go back to
my Default Quality Render.
| | 01:23 | Right now, I'm looking at my table,
and it looks like I have a piece of the
| | 01:27 | chair still hanging out here,
which I'll hide by pressing Ctrl+H.
| | 01:30 | I need to separate out the unwrap a bit.
| | 01:32 | What we'll see here is a high-res
object, and it's projected using the
| | 01:37 | Transfer Maps dialog.
| | 01:39 | The idea then is we can take these high-res
pieces and subdivide them, not by
| | 01:44 | using the smooth preview, 1, 2, or 3,
but instead by hardening and softening
| | 01:49 | edges, going into the Polygons menu
and under Mesh choosing Smooth, and even
| | 01:54 | sculpting in geometry, using the Sculpt Geometry
tool or just self selection and modeling techniques.
| | 02:00 | Finally, we'll go into the Transfer Maps dialog.
| | 02:03 | I've pressed F6 go to the Rendering
module, and under the Lighting/Shading
| | 02:07 | here is Transfer Maps.
| | 02:08 | Once it's all done here in our normal
map, we can choose a target and a source
| | 02:12 | mesh, and project those normals.
| | 02:14 | What it would look like on the low poly,
when it's all set and done is it's got
| | 02:18 | all the detail from the high poly in there.
| | 02:21 | As I've said in the previous video, having a
good edge flow and clean edges is a big deal.
| | 02:26 | Making sure you have a good unwrap on
each one is also important, as these
| | 02:29 | normals will project into
the UV space of the low poly.
| | 02:33 | Finally, if we're sculpting multiple
objects, we'll need to make sure that the
| | 02:36 | ones we're going to project are stacked
correctly or maybe not stacked. On these
| | 02:41 | boards, for example, because I like to
bevel the outside ones, I may decide that
| | 02:46 | this board, and this board, are identical.
| | 02:49 | They are just flipped around, and the
middles are the same, every other board.
| | 02:54 | That way I can have different
normals, or different grain we'll call it,
| | 02:59 | on different boards.
| | 03:00 | And I can rotate them around but still
apply the same normals, giving me what
| | 03:04 | looks like variation.
| | 03:05 | In reality I'm still stacking unwraps,
but I'm doing so a little more carefully.
| | Collapse this transcript |
| Planning the UV space for projection| 00:00 | Now that I've decided to model some high
poly elements, I need to look at the UV space.
| | 00:05 | I'll select my table and see what I've got.
| | 00:08 | I'll press F3 to go back to the Polygons
menu, and choose Edit UVs > UV Texture Editor.
| | 00:15 | There is my UVs, and as I
intended, they are all stacked.
| | 00:18 | It's working perfectly for what I
wanted to do in terms of just the color map.
| | 00:22 | However, for the normal map, it's a
little on the messy side, and especially if
| | 00:26 | I going to sculpt unique boards.
I need to pay some attention to this.
| | 00:30 | By turning off the image, and shading
the polygons, I can see that a lot of them
| | 00:34 | are very thoroughly stacked.
| | 00:35 | What I'll need to do is start to take
different pieces and break them out.
| | 00:40 | What we can see a lot of times is that
there is different materials applied to
| | 00:45 | different objects which share some common maps.
| | 00:50 | When I pick one board as an example, or
even two, we can see that they share only
| | 00:55 | some space, there is just an overlap
here on the in so those are actually okay.
| | 01:00 | What I may end up with is a normal map
that's specific to the top of the table,
| | 01:04 | and a color map that goes over the
whole table because I'll stack the UVs for
| | 01:08 | the legs and they won't see as much sculpting.
| | 01:11 | Once I start to pick more boards,
however, we can see that they're stacked
| | 01:15 | up, well, as I had done.
| | 01:16 | What I may end up wanting to do on
this is really kind of break it back down
| | 01:21 | a bit, taking a few or one of each
element and spacing out the UVs,
| | 01:25 | sculpting them, and then once they're done
cloning and copying those high-res elements around.
| | 01:32 | Alternately I can bake on
the lo-res and then copy.
| | 01:35 | My thought is I'll take one corner
element, one side, and one more side, spread
| | 01:42 | out their UVs, and between all of
these I can get enough variety that when I
| | 01:46 | clone it around, the top looks unique.
| | 01:48 | The top will then have its own
normal map, which does not apply to the legs.
| | 01:53 | I need to do this being mindful of where
they sit on the original wood, and this
| | 01:57 | is where things get possibly thorny.
| | 01:58 | When I turn on the image, we can see I
have allocated three quarters of it for
| | 02:02 | this wood grain and the other
two parts are shared by the chairs.
| | 02:06 | I could make a decision to have all of
one kind of wood here, and share a little
| | 02:10 | more the UV space, leaving a
separate one for the chairs, but since I have
| | 02:14 | already got it laid out.
I'm going to see if I can make do.
| | 02:18 | I'll pick my Move UV shelf tool,
select this one, and pull it over.
| | 02:22 | Then I'll pick one of the other pieces,
making sure I click and grab just one,
| | 02:26 | and slide it off to the side.
| | 02:28 | Remember, when you are laying out
UVs, it's okay to use space around
| | 02:31 | temporarily, it's a scratch or working space.
With these pieces selected,
| | 02:36 | I'll pull them in, and size them up a little bit.
| | 02:39 | They're going to share with
other objects the same texture.
| | 02:42 | So I'll have a separate material just
for the top in unity. Really what that
| | 02:47 | means is I have one diffuse map, and
that will be applied to a whole bunch of
| | 02:51 | furniture and just a specific normal
map for that top in a different material,
| | 02:55 | which is not too much overhead.
| | 02:56 | Now I will pick these ends, deselect the
other shelves, and pull them off to the side.
| | 03:02 | Then I'll stack them in.
| | 03:04 | Because these are shared by the boards,
they need to make sure that they have
| | 03:07 | got adequate UV space.
| | 03:09 | It's okay in this case to start grabbing
things and pulling them up and down to make room.
| | 03:13 | I'd like to try and keep
them as big as possible.
| | 03:18 | So I'll zoom in and pull this into the corner.
| | 03:22 | Because I'm going to be beveling edges,
I may end up wanting to take these and
| | 03:26 | scaling them slightly to fit in or
fitting them on the edges as well as I can,
| | 03:31 | trying to get them as big as possible.
| | 03:33 | As an alternate, I may want to change
the grain direction ever so slightly,
| | 03:37 | pressing E for rotate, and pulling them over.
| | 03:43 | I'll make sure, I go back and pick
that Move UV Shell tool and pull things
| | 03:46 | around, and it looks like, I need to
make just a little more space here by
| | 03:50 | snugging these a little closer together.
| | 03:52 | This should do it, and I should be
able to take these, and put them in place,
| | 03:57 | giving them just enough space for a
decent normal map and actually leaving me a
| | 04:00 | little bit left over.
| | 04:02 | It's very easy to grab other shells,
so what I'll do is select and then
| | 04:05 | hold Ctrl to deselect the ones I don't want.
With these pulled in,
| | 04:12 | I've got the elements to
model my top in high poly.
| | 04:15 | Every UV here is unique.
| | 04:16 | Because it's going to have its
own normal and get sculpted, dented, and
| | 04:20 | generally crunched edges,
I'll also do some work on the top here.
| | 04:23 | I'm going to sub-divide this greatly
and bake or project that high poly into
| | 04:28 | this low-poly UV space.
| | 04:30 | If I had overlaps, we would see that
grain and those dented, crunched, or beveled
| | 04:34 | corners skip across surfaces.
| | 04:37 | So allowing for a separate UV, just for
the normals here, well help immensely.
| | 04:45 | I'll right-click, choose Object mode,
and I'm ready to start in copying.
| | 04:49 | What I do want to make sure I do
here is pick the ones that I've laid out
| | 04:53 | and delete the others. Part of this is
making sure you've got the right objects separate.
| | 04:59 | So you may see a lot of what
looks like half objects or pieces.
| | 05:04 | This is okay as it's part of the baking process.
These are the three I going to use as.
| | 05:09 | I'm going to pick and delete the others.
| | 05:12 | I'll plan on taking the existing
ones and mirroring them around.
| | 05:14 | I'm also going to select
and hide the other pieces.
| | 05:18 | That way get a clear field when
I zoom around and sculpt these.
| | 05:22 | I'll choose Display > Hide > Hide
Unselected Objects, and now I'm ready to get
| | 05:27 | sculpting on these three boards.
| | Collapse this transcript |
| Working with hard edges and subdividing| 00:00 | In this video I'll look at
sculpting a high poly model, starting out by
| | 00:04 | subdividing and hardening some edges.
| | 00:06 | What I'll do is take these
three boards and combine them.
| | 00:10 | This way instead of projecting one at a
time, I can project all three. As each of
| | 00:14 | them will have a cage that runs around the board
for projection. I'll select them. As a note,
| | 00:20 | I'm here in face, and I need
to right-click and make sure,
| | 00:24 | I'm in Object mode before I combine.
| | 00:25 | Otherwise Maya will return an error
saying there's no object selected. With them
| | 00:30 | all selected I'll choose Mesh and Combine.
| | 00:33 | Remember that combining or extracting
or separating doesn't disturb UVs, it's
| | 00:38 | transparent, meaning that the UVs are
still applied to the faces regardless of
| | 00:42 | what object they're part of.
I'll delete the history.
| | 00:45 | As we can see over here in my Attribute
Editor, this is getting a little bit long.
| | 00:49 | I'll press Shift+Alt+D.
| | 00:51 | Alternately, I can choose
Edit > Delete by Type > History.
| | 00:56 | There's my objects, and we can see I've
got them as different pieces, there is
| | 01:04 | the color, there's a bump, and there's
blinn4, and really these materials are
| | 01:08 | just my experiments in the normal map.
| | 01:11 | For now, it doesn't really matter, as I'm
going to replace these with a normal map later.
| | 01:14 | What I may want to do though
is streamline a little bit.
| | 01:17 | As part of the baking process in a later
video, we will see Maya put a normal map
| | 01:21 | in the material that's applied.
| | 01:23 | So to streamline it a little
bit, with this object selected,
| | 01:26 | I'll right-click, and choose
Assign Existing Material > Color.
| | 01:30 | This takes it back to
just the raw color on here.
| | 01:33 | There is no bump or normal applied,
and I'm ready to get in and start
| | 01:37 | subdividing and sculpting.
There's different ways of doing this.
| | 01:40 | A lot of folks will go in the Viewport
and press 1 or 2 and what we're seeing
| | 01:45 | here is that it's doing a smooth preview,
it's trying to show how it looks when
| | 01:49 | it's subdivided, where every
polygon is divided into four for every one
| | 01:52 | iteration of smoothing.
However, this gets me blobjects,
| | 01:56 | or pointy or cigar-shaped pieces
that are really not the boards I want.
| | 02:01 | These started out as boxes, and the
original boxes did have hard edges on it.
| | 02:06 | However, in the smooth preview,
they're not respecting the hard edges, and I
| | 02:09 | would also like to have high poly
objects plus the low poly. What I'll do then is
| | 02:14 | rename this object, calling it top_boards_low.
Now with this object renamed, so I can find it.
| | 02:21 | I'll pick it press Ctrl+D to duplicate
and rename the duplicate top_boards_high.
| | 02:28 | I'll hide the unselected one, which is the
top_boards_low and start to sculpt the high.
| | 02:33 | I'll choose Display > Hide > Hide Unselected.
| | 02:37 | In the baking process, we start with a
good low poly foundation and a good unwrap.
| | 02:41 | Then once we start to add in poly's,
we're propagating the original UVs.
| | 02:47 | Ideally then, the projection is not too
many percent outside of the original, we
| | 02:52 | shouldn't have to force Maya to project
greatly outside the original, as what we
| | 02:57 | are looking for is local
surface detail we can sculpt in.
| | 03:00 | Now I'll look at my hard and soft edges.
| | 03:02 | A quick way to test this is to choose
Mesh and Smooth. And in the Smoothing
| | 03:07 | dialog, we can choose Propagating Edge Hardness.
I'll see what this looks like.
| | 03:12 | Typically what I'll do is smooth first
and then start to add in some bevels.
| | 03:16 | I'll propagate the edge
hardness and smooth the UVs.
| | 03:19 | I'll click Smooth, and I get subdivided boards.
| | 03:23 | What this tells me is that the original
hard and soft edges are not quite there.
| | 03:28 | I may have moved them around, or
I may have distorted them somewhat.
| | 03:31 | What I would like to do then is make
sure I get in here, and on this high poly
| | 03:36 | board harden up all those edges,
holding Shift and right-click and choosing
| | 03:40 | Soften/Harden Edge > Harden Edge.
| | 03:43 | Now I'm going to subdivide this by
smoothing it, and I should see those edges
| | 03:47 | maintained. Down here in preserve I'll
make sure I've check hard edges, and I'm
| | 03:54 | going to put the division levels up at 2.
| | 03:55 | I'm going to run it exponentially.
This is essentially NURMS, Non-uniform
| | 04:01 | Rational Mesh Subdivision.
| | 04:03 | We'll see it referred to in other
applications as this, but the process is
| | 04:06 | the same all-around. Take every one poly,
divide it into four, for each division level.
| | 04:12 | We have the option here of
redirecting that subdivision and the
| | 04:16 | redirection comes from hard edges,
creasing, and waiting if it's acceptable
| | 04:20 | in the application.
| | 04:21 | I'll hit Smooth, and there is my
subdivided mesh, it looks pretty decent with a
| | 04:26 | couple of exceptions.
| | 04:28 | The straight boards are just fine as
they subdivide nicely and are ready for
| | 04:31 | beveling and generally moving around.
| | 04:34 | The curve board here needs an extra
edge, and we can see right there that
| | 04:38 | I'm getting a cross. The subdivided
mesh is flowing into the bevel.
| | 04:43 | I'll undo one step and introduce
an edge loop or two across here.
| | 04:48 | I'll hold Shift and right-click
and choose my Insert Edge Loop tool.
| | 04:52 | I'll check the dialog, which I usually do
because I may have left it in something
| | 04:56 | like use multiple edge loops.
| | 04:57 | I'll put it at relative distance and close,
and I'll land an edge loop across here.
| | 05:02 | We can see as part of beveling that
corner that I've broken that edge flow, and
| | 05:06 | so what I'm going to do is zoom in,
and now use my interactive split tool to
| | 05:11 | land that edge loop across.
| | 05:13 | I'll hold Shift and right-click
and choose Interactive Split.
| | 05:17 | As a word here, to those of you who may
have used a previous version of Maya, if
| | 05:22 | you go back to the whole object by
pressing F8 and then hit Shift and
| | 05:26 | right-click, you've got split, and under
Split is the original Split Polygon tool
| | 05:31 | or the Interactive Split tool, we can
use either one, it's really up to you.
| | 05:36 | I'll use Split Poly and land it on a vertex.
| | 05:39 | Come over here to the other side, and
snap it on, hitting Enter to finish.
| | 05:44 | I'll zoom around to the
other side, and do the same.
| | 05:46 | Wrapping this new edge loop completely
around, pressing G to repeat last, and
| | 05:51 | snapping that split right across.
| | 05:53 | I'll hit Enter, and I'll just test that
subdivision choosing Mesh > Smooth, it's
| | 06:00 | definitely better although I can see
where I need to merge some vertices. On the
| | 06:04 | top at least, those edge
loops are not nearly as ragged.
| | 06:07 | On the side there's still pinching in,
and the reason is I need to make sure
| | 06:10 | these vertices are merged.
| | 06:13 | I'll press F9, select those vertices,
actually I can select all of them, it
| | 06:17 | doesn't really matter.
| | 06:18 | If they're already merged
they're not going to merge further.
| | 06:21 | I'll hold Shift and right-click and
choose Merge Vertices, and Merge Vertices.
| | 06:30 | With the vertices merged,
| | 06:32 | I'll try smoothing once more. It's
decent, although I'm still getting some
| | 06:37 | interesting issues here, I may need
to just go in and straighten that out by
| | 06:41 | hand, or just except it.
| | 06:42 | Really, what I'm after is beveling
these corners, so I don't mind if the
| | 06:46 | interiors here have a little bit of a
zig to them, I can probably use that when
| | 06:50 | I start to push it around and sculpt.
| | 06:52 | I need to make sure that I've got my
hard and soft edges in place, before I
| | 06:57 | subdivide. And planning in an elegant
edge flow to stop that subdivision is
| | 07:02 | important, you may find prior to
subdividing, you need to introduce new edge lines
| | 07:07 | in just for the purpose of
holding that subdivided mesh out there.
| | 07:10 | We also need to have two objects, high
and a low poly, we're going to project
| | 07:15 | from the high into the low, and we
need to make sure that the high has enough
| | 07:19 | geometry on it to be sculpted.
| | Collapse this transcript |
| Adding details by beveling and extruding| 00:00 | In this video I will look at
beveling and extruding on these boards.
| | 00:04 | I have added in some new edge loops,
and I've done this also with the
| | 00:08 | Preserve UVs check box on.
| | 00:10 | What we can see here, if I look in the
Texture Editor is that the UVs have propagated.
| | 00:15 | As I have subdivided these boards with
just the Insert Edge Loop tool, those new
| | 00:19 | edge loops land still along
the existing shells nicely.
| | 00:23 | Now I am ready to subdivide, and
I will show what this looks like.
| | 00:26 | When I choose Mesh > Smooth and
making sure in the dialog that I am
| | 00:30 | preserving my hard edges.
I'm going to see these smooth.
| | 00:33 | And there is those UVs preserved nicely.
| | 00:36 | This is good because it's a one-to-one
match right now in the UVs of the high
| | 00:40 | poly versus the low poly.
| | 00:42 | We do have some latitude, and
that's the point behind projection and a
| | 00:46 | percentage we are going to see in the
Transfer Maps dialog, where we can project
| | 00:50 | a cage outside of the mesh looking for
other parts. That way, if I take a board
| | 00:55 | and push it up or down, the low poly
will look outside the original zone of the
| | 01:00 | board, we'll call it, and find
those extra pieces of geometry.
| | 01:04 | Now I am ready to bevel a bit.
| | 01:06 | I have put my division levels at two
and subdivided, so I have got some room to
| | 01:10 | move, we will call it, I
have some material to work with.
| | 01:14 | One of the big things on this
table is that the boards are rounded.
| | 01:17 | I can't spare the polys in a game to do
this, but a Normal map will help a lot.
| | 01:21 | I will press F10 for Edge and
double-click on this edge loop.
| | 01:25 | It takes me halfway along that
rounded corner and down that side.
| | 01:29 | I will zoom in or just double-click
on the adjacent one, and it should
| | 01:33 | round that corner nicely.
| | 01:35 | I'll add to this, double-clicking on the
other edge loops I would like to bevel.
| | 01:43 | Sometimes we need to help the edge loop
selection along as there may be places,
| | 01:47 | such as the round corners,
that I've broken the edge flow.
| | 01:50 | Because I've made essentially a T here,
of an edge loop coming down and across,
| | 01:55 | Maya doesn't regard it as
a complete loop anymore.
| | 01:58 | I'll add to this selection all the way
around, and now I'll see what it looks
| | 02:02 | like when it's beveled.
| | 02:03 | I will hold Shift and right-click
and choose Bevel Edge.
| | 02:06 | I will uncheck Offset As a
Fraction and reduce this Offset down.
| | 02:11 | It's interesting, Offset As a
Fraction right now gives me a small offset,
| | 02:14 | unchecking it makes the shape go irrational.
But I'm working in scene units.
| | 02:18 | I will put the Offset at .2 and the
Segments at 3 and see how it looks. It's not bad.
| | 02:25 | I may want to reduce this down a little
bit more, here's an eighth of an inch,
| | 02:29 | and I am getting a decent bevel.
| | 02:31 | I may want to come in also and crunch
these corners, and I'm okay with it being
| | 02:35 | a little faceted for now.
| | 02:36 | As an alternate, if we are feeling
it's not really working, we could come in
| | 02:40 | and remodel this corner, but I don't mind it
because I can use that facet once I start sculpting.
| | 02:45 | More importantly, right now this
has given me, well, rounded corners.
| | 02:49 | I will turn off the Wireframe on Shaded,
and I can see I am starting to get some
| | 02:53 | flat, to round, to flat, here on the corners.
| | 02:56 | It's going to make these
corners look a little bit softer.
| | 02:59 | I will do this on the other board. Instead,
| | 03:02 | I'll press F11 for Face, pick a
face, and grow that selection out.
| | 03:07 | There's different ways to select.
| | 03:09 | I can also, because it's one distinct
element, double-click on a face, and that
| | 03:13 | selects all the faces.
| | 03:14 | Now I'll bevel them and see what it
looks like, holding Shift and right-clicking
| | 03:18 | and looking for bevel.
| | 03:20 | Because I have got faces selected,
Bevel is not available in the marking menu.
| | 03:24 | So I need to find it on
the Hotbox under Edit Mesh.
| | 03:28 | Here is the Bevel under Chamfer Vertex.
| | 03:30 | I'll bevel it and see what I get. It's not bad.
| | 03:34 | I don't mind the extra geometry here
because I'm going to bake it anyway.
| | 03:38 | I'll put those Segments up to
three and round over those corners.
| | 03:42 | Yes, this is a high poly board, and
that's okay because when I deselect and
| | 03:46 | take a look, it looks nice and round, and I
have got lots of geometry in here to sculpt.
| | 03:51 | As an alternate, instead of
beveling I could go in and bevel edges.
| | 03:55 | Here is how we get out of this.
| | 03:57 | By the way, if you ever need to remove
a particular piece from the history, I
| | 04:01 | will right-click and choose DG Traversal.
| | 04:05 | In here are my bevels, there is
polyBevel3, which is the last one I just put on,
| | 04:10 | and I can select it uniquely.
| | 04:12 | With it selected, I will hit Delete, and
now this board is not beveled because I
| | 04:17 | have selected the bevel as a
unique note and removed it.
| | 04:19 | I will try instead beveling edges,
double clicking on edges and holding Shift to
| | 04:25 | add to the selection.
I will go all the way around.
| | 04:27 | Again because this is a box, the
original edge flow takes one side only.
| | 04:32 | It's not a loop all the way around
because it was, well, a box, and this is a corner.
| | 04:37 | I will add to that selection and zoom around.
| | 04:40 | I will double-click on more edges because
I would like to catch all of it at once.
| | 04:48 | And once I have done that, I can bevel it.
| | 04:52 | With all of the outer corners
selected, I will hold Shift and right-click
| | 04:55 | and bevel those edges.
| | 04:56 | Now I will turn off Offset As a
Fraction and put the Offset at .25.
| | 05:00 | I will put some segments in so it's
nice and round, and there is my board.
| | 05:06 | It's looking round, and this is
going to project a normal nicely.
| | 05:10 | I may want to work over hard and soft
edges as I can see in the middle of this
| | 05:13 | bevel, there is a bit of a facet.
| | 05:15 | What I can do here is soften
the whole thing. In this case,
| | 05:19 | I'll press F11 for Face, and use that
double-click trick again, double clicking
| | 05:23 | on a face and then
choosing Normals and Soften Edge.
| | 05:27 | I'm going to soften this whole element.
| | 05:29 | So when I press F8, go back to
object and deselect, we can see that those
| | 05:33 | corners are nice and round all over,
that seam there is because of the UVs, not
| | 05:37 | because of the mesh.
| | 05:38 | And I can tell when I press 5
and go back to a shaded view.
| | 05:42 | I'm getting some good bevels, rounding
over corners and making those boards look,
| | 05:45 | well, softer and more like boards.
| | 05:48 | The first step in the high poly model
is to get in here and soften things up.
| | 05:53 | I may want to actually pick
the whole object and soften it.
| | 05:55 | I will mix my hard and soft edges up.
| | 06:00 | We can see here that I've got a
smoothing artifact where I need to bevel that
| | 06:05 | corner because it's trying to shade unevenly.
| | 06:08 | The centerboard looks good, and this
corner is kind of neat, it's got a facet.
| | 06:12 | So I think later when I start to sculpt it.
| | 06:14 | I'm going to push this around and use
those facets to my advantage as if the
| | 06:17 | table has been banged into things.
| | 06:20 | This last board needs some beveling on
the corners. As we are seeing smoothing
| | 06:24 | artifacts where it's going dark
underneath is Maya trying to smooth between 90
| | 06:28 | degree faces or, well, collections of faces.
| | 06:32 | And I'm getting oddness because it's
trying to make a round out of a block.
| | 06:36 | I'll continue beveling.
| | 06:38 | It's really okay in a high poly to
bevel like crazy, adding in all kinds of
| | 06:42 | geometry and really rounding out edges.
| | 06:45 | We are going to bake from it and then
discard that high poly as part of the
| | 06:48 | transfer maps operation.
| | Collapse this transcript |
| Fixing geometry| 00:00 | In this video I'm going add some more
detail into these boards.
| | 00:04 | I've realized also, that I'm not quite
happy with the end board with the corners.
| | 00:09 | I've got a low poly mesh, which
I'm going to go back and borrow.
| | 00:13 | What I'm seeing here is that when I
bevel these original edges, I didn't get a
| | 00:17 | corner, and it's giving me maybe
not the optimal result right here.
| | 00:22 | Even when I try to bevel this because
I've already got a beveled edge here, it's
| | 00:25 | not quite looking right.
| | 00:28 | I can either try beveling it, and I may
get some odd edges, or I can go back and
| | 00:32 | get a part from the original low poly.
| | 00:35 | The middle board looks good, and I
need to bevel the end one, those are okay.
| | 00:39 | And those softening artifacts will go away.
I'll choose Display > Show, and Show Last Hidden.
| | 00:46 | It says to me that the previously
hidden objects are unavailable. That because
| | 00:51 | this scene is new, there's nothing
else in it that was previously hidden.
| | 00:56 | I'll show all of Polygon Objects, choosing
Display > Show > Show Geometry > Polygon Surfaces.
| | 01:03 | I'll hold Shift and make sure I
grab High and Low Poly right here.
| | 01:07 | With those selected, I'll hide my unselected objects.
And now I can pick the low poly, duplicate it,
| | 01:14 | and take a piece off.
| | 01:16 | I'll Isolate this choosing Show
Isolate > View Selected, and I've got a
| | 01:20 | duplicate of the low poly
I'm going to borrow this board from.
| | 01:24 | I'll select those faces, hit Shift+Greater than
to grow that selection and delete.
| | 01:29 | Now I've got one object here,
which is just this corner board.
| | 01:33 | I'll go back to Show > Isolate Select,
and Uncheck View Selected, and then I'm
| | 01:38 | going to take my high poly and delete
this board, combining it with a low poly
| | 01:44 | piece I have just extracted.
| | 01:46 | I'll take my low poly boards and hide them
as I would like to preserve them as they are.
| | 01:50 | I'll take my high poly
boards and delete some of them.
| | 01:54 | I'll pick some of the faces.
| | 01:56 | Notice I've got a overlapping objects.
And I'll grow that selection hitting
| | 01:59 | Shift+Period, or Greater Than, and
growing that selection out until it stops.
| | 02:05 | Once I've hit it enough times, it's
completely stopped, and I can hit delete.
| | 02:08 | Now I've got this piece
here ready for some sculpting.
| | 02:12 | I'll subdivide it once again, and
this time I'll bevel those corners.
| | 02:17 | I'll Insert my edge loops, show what it looks like
and then come back and do my bevel operation.
| | 02:22 | I've added in edge loops on my board much
like I had before, but now I've got a cleaner flow.
| | 02:27 | However, as part of that splitting process,
| | 02:29 | I've got a bit of a mismatch right here,
where I had split, I missed, and I didn't
| | 02:34 | snap the vertices together.
| | 02:35 | We've got some options in
here to be able to get these in.
| | 02:38 | I can use the Merge Vertex tool,
Merge Vertices, or Merge to Center.
| | 02:43 | Here's what I'm going to do.
| | 02:45 | I'm going to select both of these
vertices, and I'll hold Shift and
| | 02:48 | right-click and merge them.
Now here's the neat part under Merge Vertices.
| | 02:52 | If we look in the Merge Vertex tool,
there is a checkbox, Always merge for two,
| | 02:57 | which means no matter how far apart,
even if they are farther apart than the
| | 03:00 | Threshold Distance, these will merge together.
I'll merge them, and now they're one.
| | 03:06 | I'll uses this is a lot to take
vertices that are separated and stick them
| | 03:10 | together where I want them.
| | 03:12 | They always merge to the center, and I
count on that it gets me out of a jam,
| | 03:17 | and it gets my edge loops back in shape.
| | 03:19 | Now I'm going to bevel this, and
get my object back to where I want it.
| | 03:24 | I'm going to soften up some edges
because I think the hard edges here
| | 03:27 | were causing issues.
| | 03:29 | I'll press F8 hold Shift and right-click
and soften the object, that's not a big
| | 03:33 | deal as it's a separate peace.
| | 03:35 | Now I'll try some beveling, double-clicking
on edges, and I need to work my way along here.
| | 03:41 | I'll hold Shift, double-click, and add to
that selection making sure I go all the
| | 03:45 | way around this object this time.
| | 03:47 | What I've seen before that I had
some of the tops beveled, but not the
| | 03:51 | corners, and it was getting a interesting
collection of faces at the corner, we'll call it.
| | 03:56 | Things were crossing over themselves
and getting very messy and so I decided to
| | 04:00 | go back and clean this up.
| | 04:02 | It's okay to do this to realize, wait a
sec, this went down the wrong path, and I
| | 04:06 | need to get something different.
| | 04:08 | I'll do that a lot and having that
low poly there with a good edge flow to
| | 04:12 | begin with really helps.
| | 04:14 | Now I've got all the edges selected,
and I think I'm ready to bevel. I'll try
| | 04:18 | this holding Shift and right-clicking
and choosing Bevel Edge.
| | 04:21 | On Bevel Edge I'll Uncheck OffSet as a
fraction, and I'll look really briefly.
| | 04:26 | It seems to be okay, with one exception. Right
here again I have vertices that are not merged.
| | 04:32 | I'll undo that bevel, go back to vertex
and see if I need to merge those together.
| | 04:38 | I'll select them, actually
I'll select the whole object.
| | 04:41 | Remember if vertices are already
merged, they are not going to remerge.
| | 04:46 | I'll hold Shift and right-click
choose Merge Vertices and merge.
| | 04:50 | If you're not sure if it's getting
done you can always go into that Merge
| | 04:54 | Vertices tool and up that
Threshold. Right now its very, very small.
| | 04:59 | I could put it .1 and try a merge.
It's not going to take the end and glom it
| | 05:04 | onto the side, but a decrease
in that merge distance may help.
| | 05:08 | Now I'll try that bevel again. I'll go
back to edge and select those edges. Just
| | 05:15 | as a quick experiment,
| | 05:16 | I'll try beveling this side and
see what it looks like, it's better.
| | 05:21 | We can see that OffSet as a Fraction is
not helping, but when those are merged I'm
| | 05:25 | getting the right flow.
I'll undo that bevel and reselect my sides.
| | 05:32 | I've got all the corners
reselected, and now I'll bevel them.
| | 05:36 | When I bevel and uncheck OffSet as a
Fraction I'm getting a good flow all the way around.
| | 05:41 | I'll put my Offset at a quarter inch,
just like the other boards, and Segments at
| | 05:45 | 3, and now my corners are rounded as I intended.
| | 05:48 | I'm ready to do some more
sculpting on this board.
| | 05:52 | What I'm seeing here also
is a mix in the workflow.
| | 05:55 | These middle boards are thoroughly
subdivided while the end is simply beveled.
| | 05:59 | I could go in and add in some more
subdivisions manually, or I can try smoothing it.
| | 06:04 | I'll see what this looks like, picking
this board, and trying to a smooth. In the
| | 06:09 | Smoothing Dialogue I'll reduce the
Divisions down to 1, and I'll try smoothing,
| | 06:13 | and it looks, well, smoother.
| | 06:16 | What I'm seeing here is some
awkwardness, where these lines are going back and
| | 06:20 | forth and really I don't care at the moment.
| | 06:23 | What I'm after is that this is
thoroughly subdivided and ready to Sculpt.
| | 06:27 | Once this is done, I can recombine
this object, picking it, picking the name
| | 06:32 | copying, selecting, and choosing Mesh > Combine.
| | 06:37 | I'll Delete the History
because I'm okay with the bevels.
| | 06:40 | And then rename this object by pasting
that name in, it still got the same UVs,
| | 06:46 | and that's the neat part.
| | 06:47 | Here in the Texture Editor it simply
propagated the existing UVs as part of the smoothing.
| | 06:54 | I'll pick it and soften out those
edges holding Shift and right-click and
| | 06:57 | softening, and this should get rid
of any artifacts here in the corners.
| | 07:01 | I'm going to come in later and sculpt
these so I'm not overly concerned about it.
| | 07:07 | I need to do still little more
beveling on this object, but my high poly is
| | 07:11 | coming along nicely.
| | 07:13 | What I'm after here is not only
beveled edges but additional geometry for
| | 07:17 | sculpting. Its okay to really subdivide
these and bevel them making them look
| | 07:21 | nice and smooth and pushing and pulling
around, which I'll do in the next video.
| | 07:25 | I'll finish the beveling on this board
and show what it looks like, then I'll
| | 07:29 | get into pushing, and pulling,
soft Sculpting, and maybe even more subdivision.
| | 07:34 | Really getting these boards looking,
well, old and warped as they should be.
| | Collapse this transcript |
| Using the Sculpt Geometry tool and soft selection to add dents| 00:00 | In this video I'll show how to use
the Sculpt Geometry tool and some soft
| | 00:04 | selection to push and pull on those boards.
| | 00:06 | I'm going to bevel the corners of this last one,
but it's going to give me some minor issues.
| | 00:12 | The reason is I've got some
subdivision going on here that has some pretty
| | 00:15 | good arching in it.
What I need to do is to straighten that out.
| | 00:19 | I'll press F10 for edge and double-click
on one of these edge loops.
| | 00:23 | Now that I've subdivided it
it's restored this loop structure.
| | 00:25 | I am going to scale this edge loop down
on the Z axis straightening it out and
| | 00:30 | seeing if there are any others
that need a little attention.
| | 00:33 | It looks pretty good all the way along.
| | 00:35 | Now that I've gotten rid of some of
the major zigginess, we'll call it, this
| | 00:39 | should bevel a little bit easier.
| | 00:41 | I will double-click on another loop
and scale this one as well, because it's
| | 00:45 | a little too arched.
| | 00:46 | It's okay to get in there and
alter that geometry just a bit.
| | 00:51 | Moving in scaling edge loops that
look maybe a little too pointy in places,
| | 00:55 | because that will affect the bevels.
| | 00:57 | They don't have to perfect,
but just a little less jagged.
| | 01:02 | A lot of times as part of modeling I'll
get in there and scale sub-objects, making
| | 01:07 | sure that things get a little straighter.
| | 01:09 | It will make for easier workflow in the
sculpting, and it's fairly quick to do.
| | 01:16 | Now I will bevel these.
| | 01:18 | I will double-click on edge loops,
holding Shift and adding to that selection.
| | 01:22 | That loop structure should flow
cleanly along to the next corner.
| | 01:25 | I can catch most of them, zoom out,
and spin in on the other corner,
| | 01:30 | double-clicking on more loops, and then beveling.
I'll make sure I catch them all.
| | 01:35 | My zoom was a little too abrupt here.
I'll hold Alt and right-click and dolly back.
| | 01:44 | I'll add to that selection and pull over.
| | 01:47 | If you notice I'm very comfortable
working in a little corner of the view.
| | 01:51 | I click on things where I need to, and
if I have to pull around or pan around or
| | 01:56 | zoom to get to them that's fine, but
I'm looking at where I need to go, and
| | 02:00 | operating in my whole viewport.
I've got all my loops selected.
| | 02:04 | I'll catch this last one,
and I think I'm set to bevel.
| | 02:07 | I'll check it over, because I recognize
that having all these pieces beveled and
| | 02:13 | doing it all at once is important.
| | 02:16 | I'll hold Shift and right-click
and bevel those edges.
| | 02:19 | The first check I'll make is that I've got a
clean chamfer all the way around. It looks good.
| | 02:24 | The offset is a fraction,
giving me that large bevel here.
| | 02:28 | I'll uncheck offset and put the offset at .25.
| | 02:31 | I will up the segments to 3 and
see if I've got good round corners.
| | 02:37 | As you notice here it looks
like I'm missing some pieces.
| | 02:40 | Once in a while in
beveling it'll lose the material.
| | 02:43 | I'll right-click and assign my
existing material called Color.
| | 02:48 | Those faces are restored.
| | 02:50 | I can soften up the edges holding Shift
and right-clicking and softening edges
| | 02:54 | or picking those faces.
| | 02:55 | Double-clicking on the element and
choosing Normals and Soften Edge.
| | 03:01 | Now it looks good, and I'm
ready to do some sculpting.
| | 03:04 | The idea in sculpting is once we've
got enough geometry there, we can push
| | 03:08 | and pull on an object.
| | 03:10 | With my object selected I'll press F11
for face and under Mesh I'll choose the
| | 03:15 | Sculpt Geometry Tool.
| | 03:17 | I'm going to bring up the Tool
Settings so I can see the brushes.
| | 03:20 | What I will do also is press Ctrl+A,
minimizing the Attribute Editor and
| | 03:24 | bringing up the Channel Box.
| | 03:26 | I think to give myself a little more
space I will even close that, and close the
| | 03:30 | Attribute Editor, and now
I've got more workspace.
| | 03:33 | Ctrl+A will bring those
back and forth if needed.
| | 03:36 | I'll take those Tool Settings and
double-click on them, and there they are in
| | 03:39 | the left side, and I've got
pretty good space to work in.
| | 03:42 | I am also going to hide this heads-up
display choosing Display > Heads Up
| | 03:46 | Display and turning off Poly Count.
| | 03:49 | I know that these are high poly
objects so I just don't care to see the
| | 03:53 | numbers at the moment.
In the sculpting we've got a Radius and an Opacity.
| | 03:57 | I am going to bring up the Radius.
| | 03:59 | As right now this is going
to give me a very small brush.
| | 04:03 | What I'd like to do in this
case is start to push these in.
| | 04:06 | I will bring that Radius out and put it at 4.
| | 04:11 | I should see my brush, but I'm not yet, and
the reason is I don't have anything selected.
| | 04:17 | I'll make sure I select my faces, and
then I'll choose that Sculpt Geometry Tool.
| | 04:22 | There is the brush on the objects,
and I can start to push these around.
| | 04:25 | A little bit goes a long way.
| | 04:27 | As I start to push these in we can
see that brush is pushing those faces.
| | 04:33 | I've got a displacement in here,
and I may want to bring this up.
| | 04:36 | Once I start to push that, it's
really going to mash those corners.
| | 04:40 | I may even want to subdivide these further.
| | 04:43 | I also may want to change that
radius and play with it a bit.
| | 04:46 | What I am after here's not
necessarily wood grain as much as gently mashed or
| | 04:50 | dented corners that are slightly off perfect.
I can also switch over.
| | 04:55 | Here is a brush that pulls up
as I pull these corners out.
| | 04:59 | I can also bring up the Opacity and
the Radius, and I can play with different
| | 05:03 | brushes, a Soft, or
Gaussian, or something similar.
| | 05:07 | This is your standard Maya brush kit,
and I'm pushing it around, subtly altering
| | 05:11 | those corners, denting
them in just a little bit.
| | 05:14 | I will bring that displacement up
higher, and I'll really start to see it.
| | 05:19 | As an alternate we can switch to
vertex and start sculpting those vertices.
| | 05:24 | I'll select them and go
back to that Sculpt tool.
| | 05:28 | When we are working by vertex that
displacement gets very big, very quick.
| | 05:32 | I'll undo and pull that
way down. Here it is at .1.
| | 05:37 | There is my brush, and I'm
just going to, well, disturb them.
| | 05:41 | I can hold Ctrl and push
them in, inverting the tool.
| | 05:44 | I'm going to dent in the top of
this board and mash those corners.
| | 05:48 | What I would like to have here is a
board that's been abused over time.
| | 05:53 | In this case I'm pushing, pulling, and
spinning around, and mashing them further,
| | 05:58 | holding Ctrl and pushing them in
and out and generally disturbing.
| | 06:02 | I'll switch over and move things around.
| | 06:04 | I will switch back and forth in my
tools, and I've got different ones available.
| | 06:08 | I can also get in here and smooth
things out if I find it's getting too jagged.
| | 06:12 | Finally, there is an Eraser.
| | 06:14 | I can reconstruct and take it back to
the original mesh, erasing that sculpting
| | 06:19 | if it gets too much.
| | 06:21 | I'll switch my brush Radius back and
forth, and I can also play with the Opacity
| | 06:26 | so instead of being a full amount it's partial.
| | 06:29 | Here's an Opacity of .5
and pushing on that mesh.
| | 06:33 | I'm just going to dent in some of
those quarters a little bit and the sides
| | 06:37 | making those Normals, well,
slightly different, mashing them around.
| | 06:41 | The idea here is we want
to make it, well, different.
| | 06:45 | It shouldn't be a flat surface. It should vary.
And it's okay to paint it and sculpt it.
| | 06:49 | These boards have been abused over
time and what we are after here is just
| | 06:52 | to make them uneven.
| | 06:55 | It doesn't look like much yet but when I
deselect we can see that the outline is different.
| | 07:01 | I've got some lumps going and over
here I've really crunched a corner.
| | 07:04 | I may want to reconstruct that, but
with a little more sculpting I can get a
| | 07:08 | nice looking normal that gives
it the dents we expect to see.
| | 07:13 | I can also use some Soft Selection, and
what this lets me do is put in large areas.
| | 07:18 | I will press F11 for face as an example,
pick a face, and press B as in Baker.
| | 07:25 | That's the soft selection in action.
| | 07:27 | What soft selection does is based on the
selected component deselect in a radius.
| | 07:33 | I will double-click on the
Move tool to show the properties.
| | 07:37 | Here's my soft selection.
| | 07:39 | What we've got here is a fall off radius
and a fall off mode by Volume or by Surface.
| | 07:45 | I'll go by Surface, that way the
selection on one board doesn't affect the others.
| | 07:49 | If you notice here by Volume I see that
soft selection go on to the adjacent boards.
| | 07:53 | I will work by surface, and I'm
going to decrease this radius.
| | 07:58 | I'll pull that down, and I
can just see that falloff.
| | 08:01 | I've also got presets in here for
different kinds of soft selection, stepped,
| | 08:05 | peaked, and so forth, and a falloff
color if I'd like to set it custom.
| | 08:11 | What I will do a lot of times is to not
actually use the dialog here, but affect
| | 08:15 | that radius by pressing and holding
the B key and clicking and dragging.
| | 08:19 | There is my falloff radius.
| | 08:21 | I will bring it out just a little bit
and push this down, denting the top.
| | 08:26 | I'll pick this one, as an example, and push it in.
| | 08:28 | I will press F9 and switch over to
vertex and pick a few of them in here.
| | 08:33 | Maybe these two, and that one,
and I will push it slightly.
| | 08:38 | I'll come over here and mash this
corner just pushing it in a little bit, and
| | 08:43 | saying there is a dent in that board. Finally,
| | 08:46 | I'll come around to the
front and pick a few here.
| | 08:49 | I'll pull these in just a bit
as it's been bonked on something.
| | 08:53 | Between the two of them we can
get some really effective modeling.
| | 08:56 | A lot of times what I will do is use a
soft selection to get the general form
| | 09:00 | and shape and then the brush.
| | 09:02 | Other times I will work with the brush
to push that form around and then use
| | 09:06 | soft selection to fine tune. Either way works.
It really depends on what you're after.
| | 09:11 | What I wanted here is that the corners
of these boards are, well, not perfect.
| | 09:15 | This table has been well-loved over
time and what we need to do in the high
| | 09:20 | poly is to add in the wear and tear and
the roundness we expect to see, so when
| | 09:25 | we project it onto the low poly the
light skips across the surface showing
| | 09:29 | those marks and wear.
| | Collapse this transcript |
| Baking the high-poly model onto the low-poly model to produce a normal map| 00:00 | In this video I'll show using the
transfer maps dialog to bake the high
| | 00:04 | poly onto the low poly.
| | 00:06 | I have got my high poly boards, and
I've beveled them and rounded corners, then
| | 00:11 | I've used the soft selection and
sculpting to really add some detail into here.
| | 00:15 | I'll choose Display > Show > Show
Geometry and Polygon Surfaces to bring back
| | 00:21 | my low poly boards.
| | 00:22 | I'll select both and just so I can
see what I'm doing I'm going to hide
| | 00:26 | the unselected objects.
| | 00:27 | I have named these, there is a low poly,
and I'll press Ctrl+A to bring back
| | 00:34 | my Attribute Editor.
| | 00:36 | There is top_boards_low and
then there is top_boards_high.
| | 00:40 | What I need to do then is to project this.
| | 00:43 | I'll press F6 to go to the Rendering
Module, under Lighting/Shading I'll
| | 00:47 | choose Transfer Maps.
I'm going to make a normal map.
| | 00:50 | What it shows me right here is that
I've got board selected, and that's okay.
| | 00:56 | Depending on what you have selected
you may see different things start out in
| | 00:59 | the target or source meshes,
we can redirect it as we need.
| | 01:02 | What I'll do first is click Normal as
I'm going to tell Maya that I'm baking a
| | 01:06 | normal map. It wants to put out a DDS
file, although we can change that around
| | 01:11 | as we need depending on what game engine
we're going to and the format we'd like to have.
| | 01:15 | My thought is I may end up moving or
combining these at some point using
| | 01:19 | Photoshop or an additional
plug-in like xNormal or nDo.
| | 01:23 | I'm going to put these out as a TIFF,
and I can always add to them if needed.
| | 01:28 | I'll change the name.
| | 01:29 | As you can see here, it's going out to
my Game Props project into the images
| | 01:32 | directory called sampledNormals.
| | 01:35 | What I'll do is to name this one
for this exercise file calling it
| | 01:39 | 06_09_boards_end, and
it's going to be a TIFF file.
| | 01:47 | I'll hit End and make sure there
is not an asterisk in that name.
| | 01:51 | I'm going to run out Tangent space normals,
and now I'm going to select the meshes.
| | 01:56 | I'll Clear All in the Target Meshes,
and I'll pick my low poly boards and
| | 02:00 | click Add Selected.
| | 02:02 | Under Source Meshes I'll pick the high poly
selecting across them and adding selected.
| | 02:08 | Making sure that the names are a match,
this is why I went through and named these.
| | 02:12 | Most of the other objects I haven't
named as I'm going to combine them into one
| | 02:16 | object probably called table,
as an example, and bring it over.
| | 02:19 | What we may see for a game is that
there is an alphanumeric naming. That it's
| | 02:24 | very possible in a game to have quickly
thousands of objects and having a naming
| | 02:29 | convention specifically for each one is
important. It also lets us call them in code.
| | 02:34 | And so our working names in Maya
may differ from the final names in the
| | 02:38 | game, and my working objects can be
named, well, whatever I'd like really,
| | 02:42 | because they are just
there as construction objects.
| | 02:45 | In the normal in the target mesh I've
got a display, a map set, and an envelope.
| | 02:51 | What this says is it's going to
project from the high poly into map1, the
| | 02:55 | default map set for every object,
which is on the low poly boards.
| | 03:00 | Right now, I'm displaying the mesh,
and if needed I can show the envelope.
| | 03:04 | The red envelopes we can see here off to the
side show where that projection is looking.
| | 03:08 | In case the high poly boards push in
or out from the low poly, we've got a
| | 03:13 | search envelope percentage here, I can
also display both and see the mesh and
| | 03:18 | the envelope to determine
if I'm projecting correctly.
| | 03:20 | What we may see, depending on the
complexity of the object is it takes a try or
| | 03:25 | two adjusting these envelopes as needed.
| | 03:28 | I'll scroll down and look in the
common parameters. The naming is in, the file
| | 03:32 | space is set, and it's working in tangent space.
| | 03:35 | I'm going to connect the maps to the
Assigned shader and in the common output
| | 03:40 | I'll make sure this map is set to be big.
| | 03:42 | I have run my map out at 1024 for my
color, saving out of Photoshop at that size.
| | 03:49 | I'll make sure that I'm transferring in World
Space, and I've put my sampling up to medium.
| | 03:53 | I'll try this out and see
if it looks good enough.
| | 03:56 | I'll use a Gaussian Filter, which is
the same Gaussian Filter we'll see in our
| | 03:59 | anti-aliasing either in
Maya software or in mental ray.
| | 04:03 | If needed we can add some
blurring by upping that filter size.
| | 04:07 | We have the option to fill texture
seams, and I'm going to leave it alone.
| | 04:11 | What this helps with is if we've
got a little gap we can fill it in.
| | 04:15 | I'm ready to bake, and I'll see how this looks.
| | 04:17 | I'll do one last check and make sure
I've got the right names in the right
| | 04:21 | places, and I'll hit Bake.
| | 04:24 | The baking is done, it gave me a
little Progress Bar in the lower left corner
| | 04:28 | here and usually it's fairly fast.
| | 04:30 | Although depending on the complexity of the
mesh we may see this take a minute or two.
| | 04:34 | I'll close this dialog, and
I'll see where it is assigned it.
| | 04:38 | Here is my top_boards_low, and I'm
going to hide the high poly, so I can see
| | 04:41 | them a little better.
| | 04:43 | I'll hide my unselected objects
and look at the color material.
| | 04:47 | What Maya has done is put in
that bump mapping, my normal map.
| | 04:51 | I'll click in there and scroll down,
and there is that file. I can click on
| | 04:56 | View, and it'll pull that file up,
there is the normal map for my boards.
| | 05:01 | What we can see in here is
those corners came across nicely, the
| | 05:05 | beveled corners I added in.
| | 05:07 | There is also some slight variation
across the color, although I may wish to add
| | 05:11 | more, but this normal will
definitely make those boards look softer.
| | 05:15 | What I also need to do is just to
check it out in a high quality view. I can
| | 05:19 | see a little bit of extra blue right
here, and that's part of my sculpting
| | 05:23 | pushing that surface in and out. I may
wish to add more or combine this with
| | 05:28 | something like grain.
| | 05:30 | I'll go under Renderer and use Viewport 2.0.
| | 05:33 | I'll make sure I hit 6 to show those
maps in the view, and there is the boards.
| | 05:39 | On the low poly we can see the high
poly normals, they look great, and even
| | 05:44 | though they look a little hard when I
view them on the edge, when I spin around
| | 05:49 | it definitely looks like, well,
the boards are nicely aged.
| | 05:52 | I'm ready to clone these, and we
can really see the benefit of that
| | 05:55 | sculpting high poly.
| | 05:57 | As a final test I'll go into the
dialog for Viewport 2.0 and make sure my
| | 06:02 | Anti-aliasing is on. It's on at a 4
count sample, which is pretty good.
| | 06:07 | I can turn on the rest of the table or
put in a light and see how they behave.
| | 06:12 | I'll add a light in choosing
Create > Lights and Spot Light.
| | 06:17 | I'll press W for move and pick that spot.
| | 06:21 | My spot light is over to the side,
which actually created at 0, 0 which because
| | 06:26 | I moved these tables around is, well, over here.
| | 06:29 | Sometimes we need to look for
things a little bit, and that's okay.
| | 06:33 | I'll go in a top view, or nearly,
and pull this light into place.
| | 06:36 | I'll press 7 to show the light in the
view and E to rotate, spinning it around
| | 06:42 | until I can see it on my table.
| | 06:44 | I'll press W to move, and if you
notice I'm moving on the object axis here.
| | 06:49 | I'll pull it back on the Z-axis in
blue and increase that light size.
| | 06:54 | In the light attributes.
| | 06:56 | I'll put the Cone Angle at 70, a
Penumbra of 5, and a Dropoff of 2.
| | 07:02 | I'll give it a little more intensity.
| | 07:04 | I'll bump this up a little bit,
maybe to two or so, and see my normals.
| | 07:10 | To see if this worked I'll spin around,
and I can definitely see on that table
| | 07:14 | even when I'm close-up.
| | 07:15 | Although it looks fairly firm, I can
tell there is some roundness going on.
| | 07:20 | There is a limit to what we can do as
normal maps don't change silhouette.
| | 07:24 | On the ends though, the most prominent
pieces I'm going to see, it looks pretty good.
| | 07:28 | That, combined with the beveled
corner I've actually got in place really
| | 07:33 | makes it look like, well, older warped boards.
| | 07:36 | I'm ready to clone these
and finish out my table.
| | 07:39 | I may want to do this on other parts or other
objects as it's a great way to add in detail.
| | 07:44 | What we've seen in this chapter is we
can take a low poly object and sculpt a
| | 07:49 | high poly version of it, as long as
you've got a good unwrap, a good edge flow,
| | 07:54 | and a good plan of what we want to do.
We've got tools in Maya to make really
| | 07:59 | elegant pieces making objects that
have, well, ridiculous poly counts and
| | 08:03 | projecting them or baking the normals
putting it onto a low poly and having it
| | 08:08 | look pretty good. It's got limits
because normal maps don't change silhouette,
| | 08:13 | but for games we can go a long way
with a pretty good silhouette and a good
| | 08:17 | normal map that adds a whole bunch of detail.
| | Collapse this transcript |
|
|
7. Sculpting and Painting in MudboxOverview of Mudbox| 00:00 | In this chapter I'll look at
incorporating Autodesk Mudbox in the pipeline.
| | 00:05 | Mudbox is a purpose-built
digital sculpting application.
| | 00:09 | The neat part is that
it's very, very integrated.
| | 00:11 | We've got send to buttons in 3ds Max, Maya,
and Mudbox to go to the other applications.
| | 00:17 | The idea behind Mudbox is we're going
to bring in an object, or start native
| | 00:22 | here, and sculpt it subdividing it to
a very, very high poly count and then
| | 00:27 | baking out normals.
| | 00:29 | We can also paint, and we can
sculpt and paint in a mixed flow.
| | 00:33 | Then we can take this back out as
imagery, baking out our normals and our
| | 00:38 | color maps as we need.
| | 00:39 | I'll give a quick example
starting out with a Basic Head.
| | 00:43 | The user navigation is like Maya, Alt
and the left mouse to tumble, Alt and the
| |
|
|
