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Adding the dark side's base texture


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Digital Matte Painting Essentials 4: Texturing

with David Mattingly

Video: Adding the dark side's base texture

With our stone wall texture prepared, we're now ready to distort it into place. Before we actually start that, let's take a look at the scale of the stones in the wall, and make sure it's appropriate for the castle. For this kind of structure, you probably don't want the stones to be too large, like six feet high. You also don't want them to be too small, like a fist sized brick. Looking at this now, my bricks look a little bit too big, so I'm going to reduce the size of this texture to 85% of the original file.
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  1. 1m 51s
    1. Introduction
      59s
    2. Using the exercise files
      52s
  2. 44m 5s
    1. Why did we wait so long to use photographic textures?
      1m 55s
    2. Prepping the form study for texturing
      5m 32s
    3. Transfer modes
      9m 4s
    4. Color basics
      4m 45s
    5. Creating a stone texture
      3m 26s
    6. Adding the dark side's base texture
      3m 57s
    7. Adding the light side's base texture
      3m 40s
    8. Rounded textures and the Warp tool
      6m 33s
    9. Websites for matte painting reference
      5m 13s
  3. 30m 12s
    1. Creating a photographic crenellation
      7m 30s
    2. Creating a line of crenellations
      3m 27s
    3. The Vanishing Point tool
      4m 54s
    4. Adding crenellations using the Vanishing Point tool
      3m 4s
    5. Trimming the crenellations
      7m 9s
    6. Adding back sides to the crenellations
      4m 8s
  4. 29m 36s
    1. Levels and Curves anatomy
      5m 26s
    2. Camera Raw
      3m 33s
    3. Using Levels and Curves
      4m 55s
    4. Color correcting individual RGB channels
      3m 19s
    5. Toning the base castle
      5m 35s
    6. Toning the crenellations
      6m 48s
  5. 32m 25s
    1. Adding photographic elements
      4m 19s
    2. Distorting the dome and rectangular faces
      5m 18s
    3. Relighting the dome
      5m 59s
    4. Color correcting the dome
      1m 52s
    5. Adding more photographic details
      5m 57s
    6. Relighting the new details
      3m 50s
    7. Color correcting the details
      5m 10s
  6. 51m 33s
    1. Extreme color correction
      3m 36s
    2. Adding a photographic sky
      6m 27s
    3. Adding background mountains
      5m 32s
    4. Integrating the details
      7m 30s
    5. Collapsing layers and more details
      5m 13s
    6. The final paint layer
      6m 28s
    7. Lights and glows
      7m 16s
    8. Smoke and flames
      9m 31s
  7. 33s
    1. Goodbye
      33s

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Watch the Online Video Course Digital Matte Painting Essentials 4: Texturing
3h 10m Beginner Nov 07, 2013

Viewers: in countries Watching now:

A crucial step in building a realistic digital matte painting is texturing your scene. This course shows you how to add light, color, and texture to a basic form using photographic references and the tools in Adobe Photoshop. Author David Mattingly starts the lessons where Digital Matte Painting Essentials 3 left off—with a fully shaded 3D form—but you can also jump straight into this installment to learn more about texturing. Start now to learn how to add crenellations, color correct your form, distort and relight photographic textures, and add glows and special effects that make your painting convincing.

Topics include:
  • Preparing your form study for texturing
  • Adding dark and light side textures
  • Making rounded textures with the Warp tool
  • Creating photographic crenellations
  • Using Levels and Curves for color correction
  • Adding photographic elements
  • Relighting details
  • Adding glows, smoke, and flames
Subjects:
3D + Animation Design
Software:
Photoshop
Author:
David Mattingly

Adding the dark side's base texture

With our stone wall texture prepared, we're now ready to distort it into place. Before we actually start that, let's take a look at the scale of the stones in the wall, and make sure it's appropriate for the castle. For this kind of structure, you probably don't want the stones to be too large, like six feet high. You also don't want them to be too small, like a fist sized brick. Looking at this now, my bricks look a little bit too big, so I'm going to reduce the size of this texture to 85% of the original file.

Take a minute to get this sized right, since you'll be using the texture for the entire castle. Next, make a copy of the stonewall, since we're going to be using the same texture for all the walls, and turn the copy off. Make sure the texture is on top of the castle. You still need to see what you’re doing, so set the opacity of the stone texture to 50%. Now, make sure your perspective guides are at the top of your layer stack and turn them on. Let's do the left side, or the dark side, of the castle first. All of these perspective lines can get confusing.

So turn off the right side perspective lines, so you can see the side you're working on more clearly. Press Cmd or Ctrl+T to transform the texture, then right click to call up distort. And very carefully line up the edges of the stone texture with your prospective guidelines. You'll want to hold down on the Shift key while you're working, so that the transform box doesn't lean right or left. If it leans, you'll get crooked bricks. Just pull the corner of the transform box up and down, not side to side.

Make sure it covers all of the surfaces on the castle that vanished to the left and double and triple check your perspective guides. You can also zoom in and make sure that the perspective guides are lining up with the internal bricks. When you're satisfied, press return to accept the distortion, set the layer to over lay, and you can see, you have a really effective texture on the walls of your castle. The texture is also showing up on the side that vanishes to the right, which isn't what you want. So we need to apply a layer mask to confine this texture to only the dark side.

Luckily, we already have one made from our form project. So go into the form folder, find the dark side layer, and command or control click into the layer thumbnail preview to load that dark side selection. Return to the stone wall layer and make sure it's selected. And click on that Layer Mask icon at the bottom of the Layers window to create a Mask for that layer. We still have the texture on the domes and towers and we'll want to handle them somewhat differently. So load in the mask holding layers that have the towers and domes on them.

This domes inside tower layer has the side tower in it, which we don't want as part of the selection. Add towers two and details to the selection. And the towers one selection. Select the layer mask, make sure black is in the background color picker and press delete. That cleans up the texture, so that it's just on the dark side walls. You can check the mask for the layer by option alt clicking into the layer thumbnail preview for the mask and click again to view the RGB channels. Name the layer dark side texture. You can adjust the opacity of the overlay layer to your taste, depending on how much you want the stones of the structure to show.

In the next lesson, we'll do the same thing, for the light side.

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