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Applying image-mapped textures

From: MODO 501 Essential Training

Video: Applying image-mapped textures

Using procedural textures is just one way to create materials on your models. I have got the FireExtinguisherSurfaced model loaded up, and if we jump over to the Render tab, you're going to see that we've got our surfaces that we've created in the last two videos, a nice rubber hose, we've got some metal, and we've got our occlusion shader on the material surface itself, just to create a little organic look to it. But what if you want to put a label on there? Well, there are two ways to do that, and we're going to do it with a solid image map, and then we're going to do it with a transparent image map. And I am going to show you both of those.

Applying image-mapped textures

Using procedural textures is just one way to create materials on your models. I have got the FireExtinguisherSurfaced model loaded up, and if we jump over to the Render tab, you're going to see that we've got our surfaces that we've created in the last two videos, a nice rubber hose, we've got some metal, and we've got our occlusion shader on the material surface itself, just to create a little organic look to it. But what if you want to put a label on there? Well, there are two ways to do that, and we're going to do it with a solid image map, and then we're going to do it with a transparent image map. And I am going to show you both of those.

So first of all, what we're going to do is come over to the Shader Tree. I am going to open this up, I am going to open up the render, and I am going to open up the Base Material group. I am going to delete the base material here and then the Fire Extinguisher Base, I am going to open that up, and here you can see we have our Worn Edges preset that we had loaded. We could turn that off, and the reason I am going to turn that off is it's a lot to calculate for the computer. So we're just going to save a little bit memory and a little bit of redrawing time by turning that off. I am going to rotate around, and I am going to take a look closely.

This is my Z axis back here. I am looking down on the Z. I can also use my work plane icon reference right here as well. So that's the area we want to map. We want to map down the Z. So how do we do that? How do we put an image mp? Select the base material for this object and from the Add layer, click and choose Image Map. Then we're going to choose Load Image and then from your exercise files, Chapter 05, there's an images folder. Let's choose the firelabel. Click Open and right away you can see it just kind of plops it right on there, and it puts it above the worn edges and everything else, because again, modo's Shader Tree works up.

Everything you do kind of feeds up into the render. We can certainly move it around if we need, but the layer importance does play role in your model. When we come to the Items List, unless you're doing any kind of parenting or grouping, this organization here doesn't quite matter. In the Shader Tree, it's very important what layer is which, especially inside a material group. So I am going to go to the Texture Locator tab with that label selected, and again, remember that when you select something up here, the properties for it appear below, so we'll select the Fire label and then the Texture Locator.

What does that mean? Well, that is where the text is located on the model. And to make things easier to see, we're going to jump over to the model tab itself. You can definitely do shading in this view. That makes it really easy to get a good feel for where everything is placed, but you'll notice that it's just kind of wrapping it all around the top there. Well, not quite what we want. So we're going to come down and we're going to close the Transform and look just at projection. Projection means how the image is projected or thrown or put onto a surface. Projection Type is not UV; it's just going to be Planar, just flat. And it's down the Z just like we wanted, just like that.

But there are a lot of them. It's repeating, and I am going to press F8 on my keyboard to open up the Preview window. And you can see that okay, well, pretty much what we see here is what we see in our Viewport. And don't often judge-- this is really important-- what you see in this OpenGL view. A lot of times that's not going to be the true representation of your final model. Sometimes it is, but it's the final render in this Preview window that is really what's most important. So how can we fix this projection? Well, if you look down in the Project tab, you can see Horizontal Repeat and Vertical Repeat.

Well, I am just going to set each of those to Reset. And now our model has the texture all the way at the bottom, but it's not repeating anymore, and that's good. So all I need to do now is move it up. Well, that would be a Transform, so I'll open up the Transform category and for Position, I can just click and drag on the Y axis. And in real time I can just see that label come straight up on the model, and it's that simple to place an image map on a surface. If I come to the Preview window here, I can rotate around. So a lot of people think that you need to cylindrically map this, or you might need to do a spherical or do a UV Map, which we haven't talked about yet, but you don't.

You have some flexibility with the planar map. Planar of course is flat, but as long as this doesn't have to wrap too far around the side, you can very easily get away with doing a Planar Image Map. This is a very high-resolution map as well, so if I zoom in, you can see that it still stays drawn pretty well, and that's something that's really important to understand. What you put into your system, you also have to consider the output. So we're rendering this in HD, in high definition, 1920x1080 perhaps, and your Image Map is only maybe 200 pixels in size, and you're suddenly filling the screen, well, you're going to get a very blurry image.

So, keep that in mind. At the same time, if you're going to render maybe a whole slew of these, maybe you're creating an array of fire extinguishers, or this is just hanging on a wall, you can get away with a 200-pixel image, because it's not going to render any bigger than that. So, just something to keep in mind when you're working with image maps. The other thing you can do with the image maps, aside from using the Projection Type, is working in layers. And when you come here, you can actually change the Blending mode, just like you would in Photoshop. You can add it. You can subtract it, and Difference, and so on.

A lot of times people want to do an Overlay or a Soft Light, but depending on your surface and the image, it's not going to help too much. Most of the time I like a normal, and I would just play with the Opacity if I want it just to be kind of faded. However, there are other things you can do, and that's using layer masks. We're going to talk about that in the next video. But using image maps are great for putting labels on. You can put textures on grounds. You can put bark on trees. You can even take a picture of a whiteboard and build that whiteboard as a simple beveled box and then take that scribble that somebody possible wrote on a whiteboard, take a photograph of it, trim it in Photoshop so it's very clean on the edges, and literally just map it right on there and give your 3D object more a sense of realism.

Creating image maps are a great way to add realism and strength to your images in modo.

Show transcript

This video is part of

Image for MODO 501 Essential Training
MODO 501 Essential Training

80 video lessons · 4573 viewers

Dan Ablan
Author

 
Expand all | Collapse all
  1. 2m 21s
    1. Welcome
      55s
    2. Using the exercise files
      1m 26s
  2. 42m 37s
    1. Understanding the interface
      4m 30s
    2. Understanding the workplane
      5m 7s
    3. Understanding Action Centers
      4m 12s
    4. Working with the modeling tools
      5m 10s
    5. Understanding surfaces
      7m 12s
    6. Selecting elements
      7m 33s
    7. Understanding the elements of a 3D model
      4m 3s
    8. Understanding symmetry
      4m 50s
  3. 1h 2m
    1. Building a model
      8m 56s
    2. Editing geometry
      10m 39s
    3. Controlling geometry
      10m 31s
    4. Bending geometry
      6m 42s
    5. Adding detail with edges
      5m 37s
    6. Editing polygons
      10m 27s
    7. Extending polygons
      9m 34s
  4. 42m 53s
    1. Understanding subdivisions
      3m 49s
    2. Understanding Pixar-based subdivisions
      2m 48s
    3. Creating a basic model
      7m 51s
    4. Beveling with subdivisions
      6m 6s
    5. Adding detail to models
      8m 54s
    6. Deforming and shaping objects
      7m 48s
    7. Cloning
      5m 37s
  5. 49m 32s
    1. Creating with Radial Sweep
      4m 44s
    2. Working with text
      8m 40s
    3. Understanding replicators
      7m 22s
    4. Instancing objects
      7m 0s
    5. Working with Curve Clone
      4m 36s
    6. Working with Curve Extrude
      2m 25s
    7. Modeling with Array
      8m 50s
    8. Understanding Mesh Paint
      5m 55s
  6. 1h 4m
    1. Introducing the Shader Tree
      4m 32s
    2. Exploring layer-based shading
      4m 29s
    3. Creating surfaces for polygons
      7m 41s
    4. Editing surfaces
      7m 4s
    5. Applying procedural textures
      7m 38s
    6. Applying image-mapped textures
      6m 2s
    7. Working with transparent images
      5m 48s
    8. Adding bump maps for realism
      8m 49s
    9. Enhancing surfaces with specularity and glossiness maps
      3m 25s
    10. Creating a reflective surface
      3m 27s
    11. Working in glass
      5m 28s
  7. 39m 9s
    1. Building 3D scenes
      2m 49s
    2. Working with different light types
      8m 26s
    3. Lighting a 3D scene
      12m 51s
    4. Reflecting light
      5m 23s
    5. Lighting environments for realism
      4m 18s
    6. Blending light sources
      5m 22s
  8. 21m 1s
    1. Understanding the MODO 501 camera
      5m 39s
    2. Setting up a camera
      5m 42s
    3. Placing multiple cameras
      7m 11s
    4. Animating cameras
      2m 29s
  9. 29m 58s
    1. Understanding the timeline
      7m 16s
    2. Adding and controlling keyframes
      3m 22s
    3. Fine-tuning keyframes in the Graph Editor
      6m 17s
    4. Animating nontraditional elements
      4m 31s
    5. Animating colors
      4m 39s
    6. Animating displacement maps
      3m 53s
  10. 13m 57s
    1. Working with Hair Guides
      3m 18s
    2. Creating human hair
      4m 7s
    3. Creating the hair's surface
      1m 30s
    4. Generating animal hair
      1m 48s
    5. Building enhanced hair textures
      3m 14s
  11. 26m 21s
    1. Working with the painting tools
      6m 14s
    2. Painting on multiple layers
      9m 37s
    3. Sculpting models
      5m 45s
    4. Tweaking and finishing with the sculpting tools
      4m 45s
  12. 25m 56s
    1. Working with the Schematic interface
      1m 20s
    2. Understanding channels
      4m 9s
    3. Building a channel-based animation
      5m 51s
    4. Creating a schematic network
      6m 26s
    5. Setting up inverse kinematics
      4m 29s
    6. Adding the finishing touches on schematic rigs
      3m 41s
  13. 26m 47s
    1. Understanding resolutions and rendering
      12m 43s
    2. Setting up a render project
      4m 51s
    3. Rendering to movie files vs. image sequences
      9m 13s
  14. 3m 23s
    1. Exporting an object
      1m 2s
    2. Exporting a full scene for backup
      2m 21s
  15. 2m 2s
    1. Next steps
      2m 2s

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