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Prepping the form study for texturing

Prepping the form study for texturing provides you with in-depth training on 3D + Animation. Taught … Show More

Digital Matte Painting Essentials 4: Texturing

with David Mattingly

Video: Prepping the form study for texturing

Prepping the form study for texturing provides you with in-depth training on 3D + Animation. Taught by David Mattingly as part of the Digital Matte Painting Essentials 4: Texturing
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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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Prepping the form study for texturing
Video Duration: 5m 32s 3h 10m Beginner


Prepping the form study for texturing provides you with in-depth training on 3D + Animation. Taught by David Mattingly as part of the Digital Matte Painting Essentials 4: Texturing

View Course Description

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

Prepping the form study for texturing

As we start texturing our final project, double check that your form file is still in 16 bit by going up to Image > Mode and make sure your project is in 16 bit not 8 bit. All of your texturing must be done in that richer color space. Our form project doesn't look much like our original concept, so you need to reopen your finished concept painting. If you are a premium member and want to use my finished file, it's inside the folder for the exercise files for the concept section called, ConceptFinal.psd.

For the convenience of the premium members who didn't do the concept section with me, I'm also putting a copy of that file in the exercise files folder for this section. Let's take a look at what's inside that concept painting. One layer we don't need is the Castle layer itself. Since we'll be using the castle, we created in the perspective and forms sections as the template for the textured castle. So go ahead and turn off the visibility of that layer, along with the Smoke layer. All of these background layers are usable as a starting point for our textured castle and it contains the original plate.

So select all of the background layers and then Shift-click on the little file folder at the bottom of the Layers window to put all of the layers into a group, and name the group Background. Pull that concept sketch out of the tab so that it's free floating and holding down on the Shift key, drag the background group into the form finish.psd file. My Form file, and my original concept sketch are different resolutions, since I added some space to the top while working on the perspective drawing.

So, I need to reposition it at the bottom to line up the elements. The background layers have come in at the top, so drag them to the bottom of the layer stack, just above the perspective drawing so that you can see the castle. Open up the background group and let's take a look at what we have here. We have the hill, the volcano and mountains, and the sky and several layers toning the original plate. You could collapse some of these, but for right now, leave them in for reference. There are some layers you can get rid of, like this direction of light icon.

Hopefully, the forms study has all of the lighting questions solved, so we no longer need that as a reminder. You still need the mask holding layers since you can use them to trim your textures as you work. Let's go down to the silhoutte layer. Remember, this layer was turned down to 70% so that you could see the line work while working on the form project, but that has made the castle slightly see through. So, push the opacity of that layer up to 100%. Select the Perspective Drawing layer that multiplied over the top of the form project to preserve some of the line work.

You can turn down the opacity of this to something around 30%, experiment a little to see what looks right to you. If you turn it off altogether, you lose a lot of detail that you can use in adding the textures. But at 30%, it preserves a bit of that line without being overpowering. There are a lot of layers associated with the castle, and it would be helpful to reduce them to just one layer so that we could tone the castle. Load the selection in from the castle silhouette, then Cmd or Ctrl+Shift+C to Copy Merged or Copy Everything in the area of the selection.

Then Cmd or Ctrl+Shift-v to Paste it back in exactly the same place. And name the layer Castle All. Now, turn off the Perspective Drawing copy layer. That gets rid of all of the lines that delineated the background. You don't want the line drawing over the background, from now on all edges must be held with tone not line. Basically, we have everything that makes up the form study of the castle on one layer at the top of the project. You'll want to keep all of the layers that made up the form project for use in making selections to mask your texture layers, but you'll want to organize them in a group so that you can hide them when you're not using them.

So, select all of the form layers and Shift-click on the group folder icon at the bottom of the Layer window. This puts them all in a group, which you should label Form. You'll still need your perspective guide so keep them near the top. We have a gap at the top of the painting which should be patched. Open up the background layer and select any of the visible layers. Select the top section of the sky and copy merged, then Shift paste it back into the same place and transform it up to patch the sky. We'll be adding a finished sky later, but this will hold for now.

So, now you have your castle on one layer. It doesn't look much like the castle in your concept painting, but we'll address that in your next lesson about color correction. I'll save this prepared file in the exercise files as TextureStart.psd. This will be available to all viewers while working on this section in case you want to work alongside me, but haven't created your own castle project so far.

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