Digital Matte Painting Essentials 4: Texturing
Illustration by John Hersey

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Video: Color basics

Let's talk about the different properties that make up any color. And those are hue, saturation and luminosity. First is hue, which is what color family does the tone belong to. Yellow, orange, red, green, blue and so on. Second is saturation, which refers to the amount of hue in the selection. If you have a lot of green in a sample, you'll have a very saturated green. If you have just a little green in a sample, you'll have a very desaturated green.
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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

Color basics

Let's talk about the different properties that make up any color. And those are hue, saturation and luminosity. First is hue, which is what color family does the tone belong to. Yellow, orange, red, green, blue and so on. Second is saturation, which refers to the amount of hue in the selection. If you have a lot of green in a sample, you'll have a very saturated green. If you have just a little green in a sample, you'll have a very desaturated green. Gray is the absence of any hue.

And by definition is completely desaturated, and the absence of a hue. Third is luminosity, which can also be called value. It refers to the relative lightness or darkness of a sample, without regard to the hue or saturation. In this example, each of these samples are the same luminosity. Although the top samples are a very saturated orange. Well the bottom samples are a completely desaturated gray. Finally, the words hue and color, are often used interchangeably, But they technically mean different things.

Hue as I mentioned before, just refers to the color family, red, green, blue. But these two swatches look very different, because they have a different saturation and luminosity. Color is much more specific. It has to have the same hue and saturation. Although it can technically have a different luminosity. In this example, these two samples are the same color because they have the same hue and saturation. Although they look slightly different, because they have a slightly different luminosity. With that in mind, let's go back to our sample file, and take a look at this solid violet overlay.

I have it at the top of the layer stack to look at the color variable modes. First let's set the solid violet layer to Hue. Something a little unexpected has happened. Didn't you expect the grey scale gradient to turn violet? It certainly turned our spectrum gradient violet. The reason it didn't turn the grey scale violet is that hue doesn't control the saturation, just the color family. So it looked at the grey scale gradient, and turned it violet. But didn't change the saturation or luminosity.

It remained completely desaturated or gray. With the color gradient, it turned everything violet but keeps the same saturation and luminosity levels. So you get this bright violet gradient. Lets try color. Here you probably get the result you expected. Color turns the greyscale gradient violet, as well as the spectrum gradient. The only thing that was kept from the original was luminosity, or the lightness and darkness. Next, let's try Saturation. Is that the result you expected? Since the layer of violet on top of it is high saturation, it's bumped every underlying color up to full saturation.

Look up here at the gray gradient, where you see the speckles of bright green red and yellow. That indicates that the gradient had a bit of noise in it, that pushed some of the pixels slightly red, green and yellow. And with the full saturated layer affecting it, it bumped all of those pixels up to their maximum saturation. Also look at my cat Jackson's fur. Before I turn this layer to Saturation, it look black with dark gray highlights. But now you will see that the highlights were actually slightly red.

So with full saturation turned on, his fur looks bright brown. The last choice is Luminosity, which once again, yields rather unusual results. Remember, luminosity looks only at the lightness and darkness of a pixel, not the hue or saturation. And since the layer we have set to luminosity, is all a medium dark luminosity. It is trying to set everything in the underlying sample to the same medium dark tone. The way you will regularly be using the color variable modes, is for tinting your work.

For example, if you wanted to selectively paint this multicolor sample orange, you could add a new layer, set it to Color, and now paint the areas you wanted orange. With color, it'll keep the luminosity or lightness and darkness of the underlying material, but change the color and saturation to the color you are painting. When color correcting photo reference, you may find this very helpful if you can't get the results you are looking for any other way. Next step, we'll put some of these transfer modes into action by creating a base texture for our castle.

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