Digital Matte Painting Essentials 4: Texturing
Illustration by John Hersey

Digital Matte Painting Essentials 4: Texturing

with David Mattingly

Video: Integrating the details

Most of the elements that will make up the And just to stay organized, label it Sky, And while we're cleaning up the label names, let's go Find the layer with the Entrance on it.
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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

Integrating the details

Most of the elements that will make up the scene have been added but they haven't been integrated. For instance, the Dome and Entrance are still on top of the Crenelations and part of the Photographic Sky is bleeding over into the water, so let's deal with that first. Scroll down to the Background group and select the Photographic Sky and let's apply a Layer Mask to clean up the bottom. And just to stay organized, label it Sky, label the painted layer above it Sky Revised.

And while we're cleaning up the label names, let's go up to the Mountains Copy layer and name it Mountains Front. Let's deal with the Entrance next, it's in position but it's on top of the Crenelations. So let' use a Layer Mask to set it behind them, we need to have a selection containing the Crenelations. So, load in Crenelations3 first then, Cren3bk, then Crenelations 1 and cren 1 back, I think that's everything covering the Entrance.

Find the layer with the Entrance on it. You'll need to do invert the selection and then apply a Layer Mask. Now the Entrance is nicely behind the Crenelations. Lets deal with the side wall now, it needs to sit behind the side tower and tuck behind the Bastions. Locate the layer with the wall on it and turn off the layers so we can see what's behind it. Load in the selection with the Crenelations in it and lets marquee around this tower. And, this Left edge where the wall meet Bastian and the same over here on the right.

Then, Zoom in, we need to select around the edge of the Bastian and this little Frame holder. Over here, you need to select around this arm that goes out to the side tower. Subtract the underside of that arm from the selection and clean up the rest of this little curve, Invert the selection so it contains the wall and apply the layer Mask to it. Now that it's set in it looks a little too light, so let's adjust the curves a bit, that looks good. Now let's deal with the Dome, it showing up in front of the Crenelation so we need to apply a Layer Mask.

Load in the selection from the Crenulations and select the Dome group. Invert the selection and apply a Layer Mask to the Dome group. There's still a little spill over under the Crenelation, so select that and add it to the Layer Mask. Let's deal with this Filigree tower next, the edges of the Filigree tower are sticking up beyond the Taj Mahal tower base. So you'll need to apply a Layer Mask to make them fit together. Select those Edges, select the Inverse and then apply the Mask.

The tower from the Castle base is sticking out from behind our new tower so, let's add a Layer mask to that to get rid of it. Select the Castle All Layer and Invert the selection and apply it as Layer Mask. There are two layers of Overlay Texture you'll need to clean up also. Let's find the group with all the details in it and let's turn off the Visibility. Then select the Dome group and turn off its visibility. The Dome is still going over the front of this bastion, so you'll need to marquis around it and add it to the Dome group Layer Mask.

Scroll up to find the Towers layer and turn on it's visibility and select the Filigree Tower in the tower and let's put them all in a group, name the group, Tower. The reason we're putting everything into a group is that we want to turn off the visibility of everything except this group, with it's two Regular layers and two Adjustment layers. I'm sure you remember you do that by Option or Alt, clicking on the Eyeball next to the group and then Copy Merge the entire tower.

Turn the visibility of everything else back on and Paste the tower in. Now we can move that copy over to the right tower, let's stay organized so name it, Right Tower. We need our perspective Grid but we need it to be overwhelming, so knock it down to 30%. With the guides on, we can see that this tower since its further away, needs to be scaled down a bit, so line them up with the green guides vanishing to the right. If you use this tower in a couple more places, it will unify the look of the Castle so, Paste it in over here and line it up and, lets duplicate it and use it right over here.

Let's stay organized and name this one Left Tower. And then Left Tower two. Let's turn our attention to this Onion Tower. You should turn off the perspective Grid for now. Select both the Onion Tower and its Adjustment Layer and put them both in a group and name it Onion Tower. Turn off the visibility of everything else and select it and Copy Merged. Turn the Visibility of everything back on and scoot it over for use on this Lower tower. We'll need to Scale this and Warp it to make it fit into position.

You can use the Regular Transform tool to get it roughly positioned once you have it in the Ballpark, you use the Warp tool to flatten Elipses at the bottom. Since we scaled the Ellipse quite a bit horizontally, the Ellipses will be wider than we need and a judicious use of the Warp tool can make them fit. One final adjustment with the Regular Transform tool and that looks pretty good. And let's Duplicate it for use over on this tower and scale it down a bit because it's a little further away, we still have does old towers peaking out from behind our new photographic towers, so let's make a selection of the stuff we need to get rid of.

Select the Castle All Layer, then the layer mask and make sure that black is in your background color picker and hit Delete. You'll need to do the same thing on the Layer Masks for the Texture layers. I still wanted a new top for the Dome and duplicate the detail above the Entrance but this is getting repetitive. So I'm going to speed up the rest of this, I assume you get the idea. When you want a Duplicate of an element to use elsewhere in your project, make a group of all of the layers making up that element, including the Adjustment layers.

Turn everything else off, then Copy Merge the element and place that one Layer copy into your project for use in other places. Then, turn on the perspective Grid if needed and scale to match the project. Now, these diverse photograph elements is integrated into our project as we approach the finish. Next, we are going to clean up the project and add a few more details before adding a final paid layer.

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