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Overview of the texturing process and PSD networks

From: Game Prop Creation in Maya

Video: Overview of the texturing process and PSD networks

In this chapter I'll take the gas pump I've unwrapped and look at texture- painting techniques, starting with a clean texture and then adding in dirt and wear. I'll construct both the diffused and a normal texture from a bump painted as a grayscale. I'll also look at a PSD network, a really powerful way of texturing in Maya that links a PSD file and layer sets into various components in a material, so we can see all of the parts at once here in our view. To start, I'll pick my object which has already been unwrapped. We can delete the history if we need, if we feel it's getting a little bit bulky.

Overview of the texturing process and PSD networks

In this chapter I'll take the gas pump I've unwrapped and look at texture- painting techniques, starting with a clean texture and then adding in dirt and wear. I'll construct both the diffused and a normal texture from a bump painted as a grayscale. I'll also look at a PSD network, a really powerful way of texturing in Maya that links a PSD file and layer sets into various components in a material, so we can see all of the parts at once here in our view. To start, I'll pick my object which has already been unwrapped. We can delete the history if we need, if we feel it's getting a little bit bulky.

I can usually tell as I'm scrolling over here in the Attribute Editor. If I have to scroll a lot, it's time to delete history. If we delete history, UVs are still on the model. They're baked in. I'll press Shift+Alt+D and delete that, so now I'm down to the Transform node, a Shape node, and a material. I'm going to put a new material on this, right-clicking and choosing Assign New Material. And I'll put a blinn on, which I'm going to call Gas_pump. I've pressed F6 to go to the rendering module. And under Texturing, I'll choose Create PSD Network.

What this will let me do is make a PSD, size it, print out a template or a snapshot, and add in different attributes. That way I can have one file that links in multiple places in this material. My usual rule of thumb is to paint twice as big as my final texture. I can also let Unity do some optimization, so even though I may paint this big, I can let Unity reduce it in size. What I'm going to do is I'm going to paint this at 2048. I'll say at the most this comes down to 1024 in the final export, but I may reduce it to 512, depending on where it's going to be in my game.

But I'd rather have more detail and reduce than not enough and see pixels. What it will also do is browse this out, clicking on the file folder, and it's going to put it in my source images folder. I'll call this one 02_01_gas_pump_start. I can have it open Photoshop automatically if I want, and I'll check this so we can see it happen. Now I'll scroll down and look at the snapshot settings. Every object has map1 assigned. We can think of it as a folder to keep UVs in.

If we need, we can have multiple UV sets assigned to an object, and we'll see this a lot of times in the game engine side, where our light maps will be in a separate set of UVs. I'm going to leave it alone like this, leave the color value at white, and let my lines be aliased, not checking Anti- alias, because I'd like to have clear single-pixel lines on all my straight edges. Now I'm going to add in my attributes. I'm going to pick the color, bump, and maybe specular and add those in. I'll pick specularColor, and then I'll click on the right arrow, and it says these are the attributes we're going to add into that Gas_pump.psd.

I'll hit Create and watch it open up Photoshop. Maya did that automatically, and this is really a fantastic way to start. What it's given me, if we look over here in Layers palette, is my UVSnapShot layer. There is my white lines. It's also given me layer sets named for that PSD, Gas_pump.specularColor as an example. And in each one of them it's put a single layer with 50% gray. We should work in a layered workflow in Photoshop, keeping all of our different parts in different layers. My general rule is that if I think about it, it's another layer.

If I'm going to add something new, it's another layer. If I'm adding in layers of dirt and grime and rust and wear, those are new layers. Text is on the new layer. I need as many layers as possible, because more often than not, I'm going to come back and need to change a little something. Anything I do within each of these layer sets gets exported as that layer set in that linked PSD. Finally, it's got a background down here. Let's say as an example I put something in the color. I'm going to say I'll start out with a good rusty red here.

I'll go over to my gas pump reference and eyedropper that red. Back here in my PSD, I'm going to fill that layer 1 with my base color. I'm going to save this PSD and I'll see it update. I'll go back to Maya and here under Texturing, I'll choose Update PSD Networks. There is that color appearing on my gas pump. What this lets us do then is paint all kind of things, and when we turn on our High Quality display, we'll see the diffuse, the bump, and the specular showing up correctly.

Now with that PSD network in place, I'm going to start in on the bump and then get into the diffuse color and finally, the specular, getting them in the right place in my PSD and seeing it here in Maya. It's a very fast way to texture and get things viewable with all the different properties in the view very easily.

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This video is part of

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

90 video lessons · 6146 viewers

Adam Crespi
Author

 
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  1. 7m 22s
    1. Welcome
      43s
    2. Using the exercise files
      1m 35s
    3. What you should know before watching this course
      23s
    4. Setting up the workflow
      4m 41s
  2. 46m 16s
    1. Overview of modeling a large prop and planning for modular textures and models
      6m 53s
    2. Blocking out the overall form
      6m 14s
    3. Adding curved panels
      3m 26s
    4. Rounding the corners
      6m 46s
    5. Unwrapping the face frame
      6m 39s
    6. Unwrapping the sides
      5m 8s
    7. Moving and sewing UVs
      5m 23s
    8. Laying out the UV coordinates
      5m 47s
  3. 1h 50m
    1. Overview of the texturing process and PSD networks
      4m 43s
    2. Creating a bump map for the sides
      10m 55s
    3. Adding details to the bump map
      8m 6s
    4. Drawing the bump map for the front
      7m 51s
    5. Adding details to the panels
      7m 45s
    6. Painting the diffuse texture and planning the layers
      3m 35s
    7. Painting the base coat and the logo
      5m 24s
    8. Adding labels and other markings
      10m 45s
    9. Adding soft rust
      8m 32s
    10. Adding rust bubbles
      8m 58s
    11. Setting up a library of gas pump textures
      6m 40s
    12. Painting dirt and rust variations
      5m 23s
    13. Weathering away the paint
      5m 1s
    14. Converting bump maps to normal maps
      5m 36s
    15. Testing the maps
      11m 8s
  4. 1h 28m
    1. Overview of modeling small props
      1m 59s
    2. Modeling a sledgehammer
      6m 11s
    3. Modeling a pry bar
      6m 26s
    4. Adding detail and hardening edges
      5m 28s
    5. Unwrapping as part of building a texture sheet for small tools
      8m 27s
    6. Modeling a metal ladder
      8m 51s
    7. Unwrapping and cloning
      8m 46s
    8. Placing the clean texture
      8m 39s
    9. Laying out a texture sheet for multiple tools
      8m 37s
    10. Painting rusty steel
      7m 46s
    11. Adding dirt and wear
      5m 42s
    12. Planning for optimal texture usage
      7m 37s
    13. Painting dirt and age variations
      3m 42s
  5. 1h 45m
    1. Modeling furniture using simple parts and reusable textures
      2m 53s
    2. Planning and analyzing the modeling of a chair
      4m 56s
    3. Blocking out the basic form
      8m 24s
    4. Adding detail and softening edges
      6m 42s
    5. Refining the silhouette
      12m 9s
    6. Blocking out the form of a round chair
      7m 39s
    7. Adding detail and softening the edges of a round chair
      5m 20s
    8. Unwrapping as part of building a texture sheet for furniture
      14m 36s
    9. Planning the modeling of a table
      3m 14s
    10. Blocking out the basic table form
      4m 41s
    11. Adding legs to the table
      7m 6s
    12. Breaking up the model for texturing
      7m 55s
    13. Laying out the wood texture
      9m 29s
    14. Reusing parts to make a round table
      10m 12s
  6. 39m 23s
    1. Understanding the importance of painting textures from scratch
      2m 9s
    2. Creating the initial grain lines
      4m 43s
    3. Adding value variation across the grain
      2m 22s
    4. Warping the grain
      2m 50s
    5. Adding knots
      4m 27s
    6. Colorizing the grain and planning for stains
      6m 53s
    7. Cutting out boards for a UV layout
      5m 26s
    8. Adding patina and wear to a final texture
      10m 33s
  7. 1h 2m
    1. Understanding the importance of a low poly count
      4m 46s
    2. Overview of normal maps
      9m 26s
    3. Overview of the high-poly projection pipeline
      3m 10s
    4. Planning the UV space for projection
      5m 29s
    5. Working with hard edges and subdividing
      7m 22s
    6. Adding details by beveling and extruding
      6m 50s
    7. Fixing geometry
      7m 39s
    8. Using the Sculpt Geometry tool and soft selection to add dents
      9m 32s
    9. Baking the high-poly model onto the low-poly model to produce a normal map
      8m 21s
  8. 51m 4s
    1. Overview of Mudbox
      4m 26s
    2. Preparing for a smooth export to Mudbox
      7m 43s
    3. Importing from Mudbox: Choosing the right resolution
      5m 9s
    4. Using the sculpt tools
      8m 30s
    5. Painting
      8m 58s
    6. Exporting paint layers from Mudbox
      1m 35s
    7. Extracting and exporting a normal map from Mudbox
      6m 2s
    8. Importing and assigning objects and maps in Unity
      8m 41s
  9. 41m 4s
    1. Overview of ambient occlusion and specularity
      5m 55s
    2. Setting up ambient occlusion as a texture
      7m 3s
    3. Using ambient occlusion as a foundation for dirt
      6m 44s
    4. Using ambient occlusion as a foundation for rust
      10m 5s
    5. Painting a specular map
      6m 48s
    6. Streamlining the import process: Placing maps in the right channels
      4m 29s
  10. 21m 46s
    1. Overview of importing into Unity
      3m 15s
    2. Preparing and exporting props to Unity
      7m 54s
    3. Cloning props in Unity with different looks
      5m 21s
    4. Adding lights to test smoothing and textures
      5m 16s
  11. 22s
    1. Next steps
      22s

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