Game Prop Creation in Maya
Illustration by Mark Todd

Painting the diffuse texture and planning the layers


From:

Game Prop Creation in Maya

with Adam Crespi

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Video: Painting the diffuse texture and planning the layers

With my bump in place, I'm ready to start on the color. It's really up to you which one you're going to paint first: color or bump, or even specular. I started with the bump because there are things I need there, such as the ribs, trim, and vents, that having the bump in makes it easy to select the color. Ultimately, if there are colors you need in there to be able to select and make the bump from them, go ahead and do it that way. As long as you end up with both, it's really not a big deal. What I'll do now is to look at the reference and see how to paint this and what layers I'm going to need.
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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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Watch the Online Video Course Game Prop Creation in Maya
9h 33m Intermediate Aug 20, 2012

Viewers: in countries Watching now:

Explore the world of modeling and texturing 3D game props and assets in Autodesk Maya. Author Adam Crespi provides strong technical modeling techniques, from blocking basic forms and leveraging simple parts and reusable textures, to simulating real-world detail like dirt, wear, and grain with UV maps and ambient occlusion. The course includes workflow and integration considerations such as planning UV space for projection, and also steps into Mudbox and Unity for further refinement.

Topics include:
  • Planning for modular textures and models
  • Blocking out the overall form of a prop
  • Moving and sewing UVs
  • Laying out UV coordinates
  • Texturing with bump maps
  • Converting bump maps to normal maps
  • Unwrapping and cloning objects
  • Breaking up a model for texturing
  • Painting textures from scratch
  • Adding detail with beveling and extruding
  • Baking high poly model onto a low poly model
  • Painting in Mudbox
  • Importing and assigning objects and maps in Unity
  • Adding lights in Unity
Subject:
3D + Animation
Software:
Maya Unity 3D
Author:
Adam Crespi

Painting the diffuse texture and planning the layers

With my bump in place, I'm ready to start on the color. It's really up to you which one you're going to paint first: color or bump, or even specular. I started with the bump because there are things I need there, such as the ribs, trim, and vents, that having the bump in makes it easy to select the color. Ultimately, if there are colors you need in there to be able to select and make the bump from them, go ahead and do it that way. As long as you end up with both, it's really not a big deal. What I'll do now is to look at the reference and see how to paint this and what layers I'm going to need.

I'll go into the gas station reference I've got, and there's that pump. I'll zoom in. And it looks like I need a couple of things to start. This pump at one time was hopefully a nice-looking red. It was red on the sides and the top, with a white front, but a red panel right in the middle, so I need to make sure I establish those parts in separate layers so that I can scratch and degrade them correctly. The red paint has been very thoroughly rubbed or scratched off right here. On the side then, I'm also going to need layers for rust.

There are places where the paint has worn away, and then there's rust on the surface. The same goes for the top, which having been fully exposed to the elements, is thoroughly rusty. Then I'll need layers in the diffuse channel for things like the writing and other markings. And finally, I need to make the light and if there's any screws. Sometimes things like screws are better shown simply as a bump; they're so small they really register as slight dots more then anything else. I'm also going to add in a slightly different texture for the base.

I'll need to make sure this shows up in the bump as well, and I can go back and do that easily with a couple of quick lines. What this means here in my PSD is I'm going to make some layers as part of my planning process. It's a good idea to think through not only how did this look when it was clean, but how did it get dirty or worn? When I saved out that PSD, I had turned on my color and specular layer so I didn't get an error in Maya. I'll turn them off and now turn off that bump layer as well, turning on the color and opening it up. I am going to rename layer 1 to base color, and I'm probably going to make this maybe a little more vibrant.

I'll come in later and start to fade it out. I'll press Ctrl+U and just crank up the saturation a touch. It's a good vibrant, warm red. Here are the layers I know I am going to need. I'll make one new layer and I'll rename this to white panel. I'll make another new layer and rename this to red front. By the way, if you find you don't like staying over at the right side of the screen, grab the Layers palette and tear it off, open it up. What I've also done here to make it easier to see is I've dropped down on the Layer menu flyout and gone into the Panel Options.

In the options I've made my thumbnails big. I like to be able to see what I'm doing here. There is the white panel with a red front and now a separate layer in here we'll call Dials. This will do for now, at least in the base color. I also I'm going to need some rust layers. I'll call these first one Rust skim, a light coating of rust in places that I'll paint first. Then I'll put in another layer here called Rust bubbles. This one will be the more pronounced rust. It's a good idea to kind of think through the parts you need.

Remember that things get worn and degraded over time, and so we need to plan our layers to build up like that, rather than simply trying to paint it all at once. With these in place now, I'll start in on the painting, getting the clean colors in and then scratching them up.

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