Digital Matte Painting Essentials 4: Texturing
Illustration by John Hersey

Adding more photographic details


Digital Matte Painting Essentials 4: Texturing

with David Mattingly

Video: Adding more photographic details

Next, we're going to add a number What I like to do is cut out the details I'm not going to go through the process of cutting the photo reference out again.
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  1. 1m 51s
    1. Introduction
    2. Using the exercise files
  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

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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
3D + Animation Design
David Mattingly

Adding more photographic details

Next, we're going to add a number of interesting photographic details to the castle. Now is the time to look through the websites I mentioned before for some nice castle details. Towers, entryways, and other fun bits that can make your castle come alive. What I like to do is cut out the details that I like and then paste them into a separate file. Then start figuring out what will work in my current project. I'm not going to go through the process of cutting the photo reference out again. You've seen me do that enough. I'm just going to open up a file that I call CastleBits, that I've pasted a lot of castle details into.

If you're a premium member, you'll have access to this file in the four_textures folder of the support files for this course. Feel free to use some of the elements I don't use, or find your own details to make the castle your own. Let's get all of the elements we'll use in the castle loaded into the file and positioned and ready for color correction. I make a file like this because if you're going to go to the trouble of cutting out a tower or entry way or whatever, it's nice to keep a copy of it in a separate file before you color correct or distort it.

You never know when you are going to need castle elements again, and now you already have some of them cut out and in pristine form for future use. Let's grab this layer called filigree tower, copy it, and past it into our castle composition. Select the spot you want to paste it in. It comes in much too large so scale and position it so that it looks approximately right. Zoom in so you can see what you have in your form painting. That looks about right. Return to our CastleBits file and let's grab this onion tower.

Select where you want it placed and paste it in. Transform it and position it to match as best you can. You can move it to one side and then press Cmd or Ctrl+Z to pop it back into place to see how it's lining up. You can use the Perspective tool to pinch in the bottom and make it a little more tapered. Let's do the entrance next. Grab this layer called Doorway, copy it out and paste it right over the entry way to the castle. Scale it down, this is reversed, you need to flop it.

And then distort it to match the perspective on our project. Since this entryway really doesn't match the perspective on the castle, you're going to have to do some finagling to get this to line up. Flip it in and out of place again to see that it's lining up. That's good enough. Next I want to grab a detail for the entry way that comes from the Papal Palace in Avignon, France. Just select this tower structure and copy it out and paste it to the left of the entryway. This is way too big, so scale it down and get it sort of into position.

It looks a little to tall, so I'm going to chop off the bottom of this and move that little cone section up. I'd like to add some little details to this side tower. Then I've got kind of an interesting looking bit here. Paste it right on top of that tower and zoom in and let's scale it down. The light on this is coming from the left. If I flop it it's now coming from the right. It'll work better here. I've got a section of a tower from the Taj Mahal that I'd like to use to dress up my front towers. So paste that into place and scale it down to fit.

Let's zoom in. The tower's a little tall but, I want to keep these nice sectional details. So chop the tower in the middle and move it up, then chop it at the bottom and move it up again. Now it fits, and we have all these nice round details intact. This Taj Mahal tower and this green filigree tower might go together nicely if you chop off the top of the roof of the tower. If I scoot that Taj Mahal tower up a bit, it literally looks like they were made for each other. There’s one more piece I want to add before we start color correcting and that’s this wall once again from the Papal Palace in Avignon, France.

It would add some nice detail to this sidewall here, and it's has got some little windows in it. You'll need your left vanishing point guides to align this wall up. Paste it in. This wall was actually facing to the right, so we need to flop it so that its now facing to the left, and then choose the Distort tool and start lining it up with your vanishing point guides. Again, you are going to have to fiddle around with this to get it to sit in correctly. Look carefully at your guides, as well as the position of the arches below the crenelations.

That looks good. We're missing a little section behind this left-hand tower, so let's just grab one of our existing sections, and we've got to crop it to fit to the wall. And then transform it down, again to match the guides. Let's just chop this area behind the side tower. And that's enough elements to work with. In the next lesson, we'll relight and color correct these diverse pieces of reference.

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