Join Adam Crespi for an in-depth discussion in this video Drawing the bump map for the door, part of Game Prop Creation in 3ds Max.
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Now that I've got the corrugations in on the sides, and top, and one end of my shipping container, I'm going to add in the door panels. As we can see in the reference image here, we have a lot of variation in how the doors look. They almost all have some kind of locking mechanism and some kind of hinges visible on the side, but how they're corrugated varies widely between manufacturers. Some have closely space thinned corrugations, some have more corrugations and a pattern, some have just a couple that are fairly spaced out, and some look more solid.
I'm going to make some that are fairly recessed panels in here. I've zoomed in on my template and I'll first make a new layer. Remember the rule; if you think about it, make a new layer for it. What I'll do is fill this in my light gray, because that way I have latitude in the bump. I can use white for the locking mechanism so they protrude out of the surface and with the corrugations go darker. If it's not already in the foreground color, press I to eyedropper the bump color, that light gray. Then G takes you to the Paint Bucket. But how do you fill it evenly? Here's a trick.
I've got my template layer and I'm going to select it. I'll present W for Magic Wand. If you don't see the wand, click and hold and flyout the Quick Selection tool. In the Wand, I'll leave Contiguous on and anti-alias is off. When I click in the middle of the template, there is that selection. I'll expand this out, choosing Select > Modify > Expand and I push it out by three or four pixels. This way, in case there's any overlap in the polygons over the texture, I have an extra covering color there.
Now on this new layer, I'll press G and fill that selection in. I'll deselect by pressing Ctrl+D and I'm ready to start lining in the places where my corrugations will be. What I'll do is press M for Marquee. Make sure you switch your marquee back to a rectangular, as it may still be in the elliptical from earlier. I'll start out with my marquee going cleanly inside, roughly diagonally from the corner, and I'm going to get it as close as I can and do kind of a wide panel recessed door here. With a marquee, you can always use the arrow keys to nudge it over or move it before you actually fill in a color.
I'm going to put this temporarily on a new layer and fill this new layer in something, any other color. There is my filled square. I'll press Ctrl+D to deselect, V for move, and now I'm going to Alt+clone this so it looks right. There is 1, 2, and 3. These cloned out nicely. If they don't clone or if the spacing seems a little off, now is the time to adjust it. Here's how I'll make this work. I'll press Ctrl+E to merge down the layers.
So now Layer 2 has all of these deep gray recesses. I'll press Ctrl+T for Transform and I can scale this up and down as needed. I am going to pull mine in a little bit so that there is a little more solid steel at the top and bottom. I'll press Enter when I'm done and I'm almost ready to put the panels in. Now I'll use my marquee again, clicking and dragging as close to the middle as I can get and deleting a section. Looks like I need to move this down just a little bit and I'll press Delete.
There are my four-panel doors, ready for some additional work and gradients to make this look more stamped. I'll press Ctrl+D to deselect. Now I can leave this on one layer or merge it down. I'm going to leave it alone and I'm ready to start doing some beveling and gradients on the corners.
Note: A familiarity of basic modeling and unwrapping techniques in 3ds Max and a working knowledge of Photoshop will help you get the most out of this course.
- Laying out the overall form
- Planning for modular textures and models
- Adding the framing components
- Laying out the UV coordinates
- Creating bump maps
- Painting diffuse textures
- Setting up a library of textures
- Converting bump maps to normal maps
- Testing maps
- Laying out a texture sheet for multiple tools
- Using a high poly to low poly workflow
- Baking out normals and ambient occlusion for rusty and dirty surfaces
- Modeling furniture