Digital Matte Painting Essentials 4: Texturing
Illustration by John Hersey

Digital Matte Painting Essentials 4: Texturing

with David Mattingly

Video: Collapsing layers and more details

In this lesson, we're going to collapse some layers to deal with fringing, So, turn off all the other groups, and open up the crenulations group.
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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

Collapsing layers and more details

In this lesson, we're going to collapse some layers to deal with fringing, correct a few remaining problems and add some boxes below the front towers. First, let's deal with a problem that comes up with adjustment layers. As you can see, Photoshop displays a white fringe around some layers that have adjustment layers applied to them, like these crenulations layers. You'll want to copy these layers out, and basically flatten them so that you can deal with any problems that aren't anomalies, but actual white fringing.

So, turn off all the other groups, and open up the crenulations group. Turn off all of the front layers, and keep just the back layers on. Select all and then copy merged. Go above all of the crenulation adjustment layers and paste it in place, command or control + shift + v and label it crenulations back. Now you have all those back layers with their adjustments baked in on one layer. Do the same with the crenulations front, copy merged, and then paste them in place in the project above the crenulations back layer.

Label it crenulations front. Move them out of the crenulations group and turn the group off. Now you can see the actual pixel information on the crenulations and adjust as needed. Turn your layers back on and you can see most of the fringing is gone. I want to add one more detail to the front of the castle before we move on. So load the Dome group and turn off the layer mask for a moment. Turn back on the adjustment layer so this will be color corrected and load in the selection for the dark side boxes and the light side boxes.

Intersect the area that contains just the front box, select a group, not the layer mask and copy merged. Enable the Layer Mask again and paste that copy in. Move it above the dome group and above its adjustment layer, since it already has the adjustment applied to it. Turn everything else back on. And name the new layer front box. Move it over this front top bastian and scale it to fit. Turn it on and off to check the position. That looks pretty good.

I want to make this box taller so it'll sit on top of the wall. So let's select the bottom of it. And then command J to copy it out and scoot it down. Now this bottom section lines up nicely. The back side of that front box is still visible. So let's go ahead and make a selection around that and then delete it from the layer. We need to trim the top of this box, so that it matches the tower. You could apply a layer mask, but in this case I'm just going to delete it. Then merge those top and bottom sections together.

You still need a layer mask to make it sit behind the crenulations, so load in crenulations front and crenulations back. The back edge of this bastion is visible, so let's trace around that. And then intersect with just the area we need for the mask. Select that front box's layer again, invert the selection and apply the layer mask. We need a matching box on the right side, so let's copy that element out, paste it in and scoot it over to the right side. Turn on your perspective grid, you know you're going to need to scale it down since it's further back.

Line it up with that guide on the top and bottom. Needs to be scooted over just a little bit. And let's name this front box two. Load in the selection for crenulations front and back. Intersect with the area we need and apply the layer mask. Now the tower seems off center, let's adjust that, and trim the box to match. You can turn off your perspective guides now. And, finally, we need to fix up the mismatch between our photographic crenulations and the crenulations on our form project.

You can see it's causing a doubling of the crenulations in some areas. You can see why if you scroll down to your original form project and let's solo that castle. Our form crenulations are showing up as kind of a white ghost behind our photographic crenulations. So let's patch it on the castle all layer. Make sure the castle all layer is selected and select around the offending area. And copy, drag to hide those crenulations. We've got that same problem over here, so copy drag to hide them.

We need to make some final revisions to the castle on a top paint layer and we'll do that in the next lesson.

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