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Weathering away the paint

From: Game Prop Creation in Maya

Video: Weathering away the paint

In this video I'll show how to scratch and wear away paint on the gas pump. I've added in wear, layering on rust and bubbles and so forth. But what I also need to do, especially on these front panels, as we'll see in the reference in the minute, is to wear away the paint. It's been exposed to the elements for years, and so a lot of the original has faded out. Here in Photoshop we can see, if I look at my reference, that the gas pump on the left in blue is fairly intact. The gas pump on the right in red though, although standing straighter has the paint worn away, maybe scored or flaking off, revealing the white paint underneath.

Weathering away the paint

In this video I'll show how to scratch and wear away paint on the gas pump. I've added in wear, layering on rust and bubbles and so forth. But what I also need to do, especially on these front panels, as we'll see in the reference in the minute, is to wear away the paint. It's been exposed to the elements for years, and so a lot of the original has faded out. Here in Photoshop we can see, if I look at my reference, that the gas pump on the left in blue is fairly intact. The gas pump on the right in red though, although standing straighter has the paint worn away, maybe scored or flaking off, revealing the white paint underneath.

I'll show how to do this easily, building up using the eraser. With the latest version in my PSD selected, I'm going to make my red gas pump missing some of its paint. First, I'll turn off some of my layer sets so I can see what I'm doing, turning off the bump and turning off the blue color as well. There is the red. And I'll open up that layer set and scroll down. There's a red front layer. I'll zoom in and start to erase this. I'll press E for the eraser, right-clicking and making sure the hardness is all the way down.

I'm going to leave the size fairly big, maybe 150 give or take, somewhere in there, but I'm going to lower the opacity, clicking and dragging in the Opacity and pulling it way back. The thing to remember when you're wearing away paint is that this happened over time. If we took our brush and simply add a large Opacity, like 100, grabbed and dragged, we are you erasing a large streak, which looks like somebody dragged something down it. What I want to do is keep that Opacity low so that as I'm wearing away this paint, it builds up over time.

The paint was new at some point, and it started to wear away. We started to lose some paint, but some of the original was still there in places. But we really started to lose some of the hard lines, especially in the small areas where maybe it wasn't bonded as well. It got a little scratched over time and water dripped down and took a little more paint here and there, especially right here at the corner. After years of people touching it and elements and so forth, some of the original paint still clung vainly over in the corners, and I will let it be right there, because it's just shielded by that chrome.

I'll scratch a little more off here. Now I'm going to switch over, right- clicking and choosing one of my different brushes. So far I've got naturally erosion. It's fading out gently. I'm going to switch over to a speckled brush as an example and use my brackets to upsize the brush. I'll add some scratches in, scratching that paint off. It's been mechanically braided here, and we're missing some large chunks. I'll add a few more over here. I'll scratch off a little more, making sure I keep that opacity low and building it up.

Finally, there are some chips here and there, places where over time things have speckled that paint. Because it's a separate layer, anywhere I click off that layer really doesn't matter. I'm wearing away that paint, building up chips, dents, scratches, and so forth, upsizing the brush occasionally and scratching it, really taking care to build up the erosion. I'll make sure I catch the corners up here. This one is almost completely gone. I'll build that up and scratch it in. I'll scratch from a different direction as if somebody had gone after it with a tool.

I'll make sure there's no nicely faded- off edges, doing some more scratching things down low here. It may take at least a few minutes to scratch this away, really eroding that paint, but the end I get is the last of the paint is still hanging on, and it's worn away, scratched, and worn down by the weather and rain. I'll bring this across and see how it looks. I am going to turn back on my layers, choosing File > Save As, and save this out as an end PSD. Back here in Maya, I'll pick my red gas pump and update.

I'll go into those textures for specular and color and bump and swap out the right PSD. There is a slight lag while I'm updating, and what that's due to is this being a large image. I'm still painting at 2048 on a side. It's okay to paint big like that and take the minor performance hit. Getting the detail right is what's important. Later, we'll come back and reduce this or let Unity reduce it, as I've stated before. Right now I just want to see everything in the full detail. There is my gas pump, and we can really see where that red paint is just barely hanging on in places, showing the white underneath.

If I look at it and say, I don't really like that I'd like to change it, a change this fairly easy. What I can do is actually borrow the blue layer from here and recolor it as red and re-scratch it in the same way I cloned over things like the rust in the other exercises. I'll see if the blue needs any more wear, and if any other places in the red here that need to be scratched away or having more rust applied to them. Finally, I'm going to bring this into a game and see how it's going to look.

Show transcript

This video is part of

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

90 video lessons · 6161 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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