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Applying procedural textures

From: MODO 501 Essential Training

Video: Applying procedural textures

Here we have the FireExtinguisherBasic file, and this is a edited version of our original fire extinguisher, where we've put just some metal on, we've adjusted the specularity on the clamps, put a little dark rubber on the hose, and so on. But we didn't really do anything with the actual base of the fire extinguisher, and what can we do with that? Well, let's jump over to the Shader Tree and take a look at our materials. We have our TopHandle, our HoseClamp our CenterHose, our bottom Handle. And part of editing surfaces also means keeping organized. So we had added the Top Handle.

Applying procedural textures

Here we have the FireExtinguisherBasic file, and this is a edited version of our original fire extinguisher, where we've put just some metal on, we've adjusted the specularity on the clamps, put a little dark rubber on the hose, and so on. But we didn't really do anything with the actual base of the fire extinguisher, and what can we do with that? Well, let's jump over to the Shader Tree and take a look at our materials. We have our TopHandle, our HoseClamp our CenterHose, our bottom Handle. And part of editing surfaces also means keeping organized. So we had added the Top Handle.

I am going to rename this BottomHandle-- often a really good idea to just organize like this and keep these names together. And that way, when you're surfacing these models and looking for all these different materials, it's a lot easier to find. And while I mention that, there's a neat little trick. Now, not so hard in this model, but let's say you have a more complex scene, like a jungle you've created or an automobile with a ton of parts, and you need to fix one of the surfaces. If you come up to the Items tab, and then you click and hold, there's a Material setting. And what that will do is when you click on that, when you mouse over in any of the views--and let's jump into the model view so you can see this--it will actually highlight some of the models in the Materials.

Now we have only the handle selected, so I am going to hold the Shift key and select all of them. And now when I mouse over, see that outline? That is representing the different materials. So let's say I want to know what these little rivets are in here that I never really applied a surface to. As soon as I mouse over in Material mode, I do that and I jump to the Shader Tree, those don't actually have a surface. The Base Material came up. That's why I couldn't put a surface on there; I never actually assigned one. But what about this metal? That's the HoseClamp. Or this one? That's the TopHandle.

So this material group selection up here makes it really easy to determine what materials are which. It works really well if you get a model from somebody else, if you buy or download a model from somewhere, or even if you're working with a client in a big office and somebody else is giving you the model. It's a great way to determine where those surfaces are. So back at this, let's get to the actual base of the fire extinguisher. And jumping down to the Material, okay, it's red. That's not too bad.

But what can we do to really give this some life? Well, that is where the procedural textures come into play, and a procedural texture is a computer-generated texture. So from the Add Layer dropdown up here, I am going to click and drop down to Enhance modo Textures. Enhance is the brand name for these modo textures, and you can see there's a number of different categories. You can have a display, different geometrics. You can have a noise filter. You can have different organic filters. You can have different panels and so on, skins for frog, wood, and leather. Some are really great, some are just okay, but they all work well, especially when blended with other things.

So what I am going to do in here is just create some noise. So we're going to go up to Organic, and we're going to come down to Crackle, and what Crackle does is puts this crazy surface on here. And you think yeah, Dan, that's okay, but not quite the fire extinguisher I wanted. What we have to determine, number one, the size of this texture, and number two, how it's going to be blended, and that's what this Effect column is in the Shader Tree. When you add a procedural texture you're going to get this little ball that represents a checkerboard. So all of these icon means something. A green dot with a red dot means that's a Material group; a small green dot means that's just a material; and this black and white one means that it's a procedural texture.

And so when you select that, and you look down here under Texture layers, you can see the properties for that. So, very easily, I can come in and change the Opacity of it and just drag that down and just blend it in like that. I can change the Blending mode, and those of you familiar with Photoshop might be familiar with these, which is using the Multiply or using Overlay, things like that. Some will work better than others. You can use Subtract, and that just dirties it up, which I like a lot. But we're going to keep it Normal, just so you can see what we're doing.

You can change the Seed amount. You can change the Octaves. These are all just different values of this generated texture. Each one of these go very differently depending on which texture you call up. You can change the Clipping Value, meaning the contrast of it. You can also change the color of it, so I can make a green if I wanted, and the white can be more of red, something like that. Or you can just bring the Alpha value down and just fade out one of those colors altogether. So, very, very flexible for a lot of these materials. All right! So with that being said, we're going to go back to black and white, and I am going to show you what we're going to do with this.

We are going to come up here and just make that more white again. Black and white in 3D has a lot of functions. It can be used for transparencies, it can be used for displacing maps, and it can be used for bump maps. So what we're going to do, just quickly, we're going to talk about bump maps a little bit further in another video, but for right now I am going to change Diffuse Color to a Bump Map. And I am going to right-click on this Diffuse Color listing, go to Surface Shading, and change it to Bump, and when I come in here and go a little bit closer, you'll see that we've got just imperfections in the surface.

Very, very subtle, but it gives that little canister a little bit more realism, without being too distressed and too odd looking. If I had changed this perhaps to a displacement map, that's physically going to dent it up. The bump map is more of a fake, and we don't want it that strong, so we're just going to change it to the bump. Now bump maps can go much, much further than this, and modo 501 actually has some additional features that will allow you to really create some interesting surfaces. I am going to add one more to this.

So what I am going to do to give this just a little bit more life is use one of the presets. So what we're going to do is open up our left-hand side here, and I am going to click and go up to Materials. And when you installed modo, all of these presets came with. Now, all of these you can create yourself, so we just created a very simple one with a material and a crackle. You can very easily add some additional enhanced textures, but there are some in here already put together for you, such as Occlusion, and that's this folder right here. I am going to open this up, and I am going to take this Worn Edges and I am going to drag and drop it onto our canister. And this is not only a great way to create surfaces, but a great way to study surfaces.

So take a look at this. When we move in close, you can see that we've got this very old kind of dented surface that we like, something a little more realistic and organic. Now, we certainly don't want it yellow, but as this redraws, you can see that those edges are nicely worn. That's what the Occlusion shader will do, and that's this one right here. We very easily could have added it from the Processing tab right here, Occlusion, but instead, we used the preset, and then we can simply just modify it.

So the way I am going to modify it is take this base paint and just bring it down to the red. And in fact, that's very much what our original surface looked like in our photograph; it has those nice worn edges. So you can imagine if you're doing tanks in a warehouse, scuba tanks, any kind of machinery that has a great look like that and just creates that kind of natural organic look. Procedural textures in modo are very powerful and you can create a lot of unique surfaces. On a simple level you can create just some organic noise; on a more complex level you can create torn edges and transparencies and rough surfaces.

Show transcript

This video is part of

Image for MODO 501 Essential Training
MODO 501 Essential Training

80 video lessons · 4576 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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