Join Mikey Rogers for an in-depth discussion in this video Using different projection modes, part of Up and Running with MARI for Texture Painting.
- There are two methods for projecting paint onto our model, Project Front and Project Through. Let's take a look at both of these now. So, to demonstrate Project Front, let's, again, just go to a different part of our model and paint something down. And let's go to our Projection tab, and under the Projection section, we see Projection, and by default, it's set to Front. And, so if we go ahead and just hit "b" to bake that down, we see that it just paints on the front of our model and it is kind of what we expected.
So, great; what if we wanted something different? Let's change the color, hit "x", just to switch to our background color, and we'll paint the black down and let's switch from Projection Front to Projection Through, and bake that down and see what happens. So, it looks like we would expect, but if we kind of dolly around, we can see now that there's paint all the way over through to this side of the model, and even on this side and this side.
It kind of blasted all the way through as though it were just a hole in the wall. And that's really great in some situations, like it kind of covers up a lot of surface area and it allows us to get paint in areas that we can't really see, which is awesome, because, with little sections like this, where it's really hard to get to, it lets us get paint over our entire model in one fell swoop. That could be good, that could be bad, that will be left entirely up to you.
But, let's take it a step further and see what else we can do with this. So, there's another section down here, called Project On, and it's set to All, and it's basically doing what it implies, in projecting onto everything. But let's see what else we have. So there's an option down here called Selected Only, and what does that do? Well, let's go ahead and try it. Let's switch back to our foreground color by hitting "x" and start painting. And we don't see anything happening in our viewport, so why is that? Well, based on how this is named, as the name implies, it says Selected Only, and, well, we don't have anything selected.
So let me just go ahead and clear out whatever we have in the paint buffer, and we'll go over to this tool right here, it's the Selection tool, and let's start clicking things and see what happens. And you can see, as we're clicking around in the viewport, stuff is being highlighted. And it's being highlighted based on these options right here. Right now, it's set to Patch Mode, and Patch Mode basically means things that are in certain UV tiles. To better illustrate that, if we click on the UV tab right here, this show us a flat representation of our model.
And so, we can move around and see different parts of our model and here's something green, it replicates what the green is that we saw in this part of the model. And so, we can get an overall grid representation of our model in our UV Mode, and a Patch is basically this square section right here. And our model is made up of many patches. And we do that just to keep things sort of organized and it gives us a little bit more texture resolution, so this patch right here is a 4K image.
It's basically the exact same thing that we created over here, we decided to create a 4K image for our diffuse channel, and so each patch is made up of its own 4K image. And so you can even click here and see a patch being selected. And go back to your Orthographic view over here, and you'll see that reflected in your Orthographic view over here, so it's sort of a one-to-one. You can even click on this Ortho/UV tab here and get both of them up at the same time.
So you can have your UV view on this side and your Orthographic view on this side. I wouldn't really recommend working this way, but it's a nice representation of being able to see what you have selected on both sides as you're discovering your model and seeing what's what. So if we go back to Orthographic view and click this button here, this is setting the Selection Mode to Object. Since we only have one object in the scene, it's going to select everything, and that doesn't really help us. But there's another one here, it's Face Selection Mode.
This one's really awesome. If we click on this part of the stone, you'll see just a little green area is selected, and that's selecting a face of the object. It's really hard to see what we're going to be clicking on in that face by just blindly clicking around, but if you hold Shift and hit "w" on the keyboard, it'll take you into a Wireframe Mode, and it's basically just a little bit of an overlay on your model to see how your faces are lined up over the course of the model.
But we can take it a step further. If you click on this icon right here, and click again on one of the faces, it's going to do a quick calculation on your entire model. And this mode right here basically allows us to select any faces that are continuous within that face selection. So, if we go back to our UV mode, and move over, you can see that it's basically selecting this set of faces right here. So we can click on this one, it'll select those sets of faces, we can go over here and select this one, it'll select those sets of faces, basically anything in this island of UVs.
And if we go back to our Orthographic view, we can hunt it down and see that it's actually selecting this little part on our bucket. And there are different ways to select objects, you can click this one to do a marquee selection and you'll click and drag and get a bunch of them selected. You can do a Lasso tool and just select them that way, there's a polygonal selection tool, so you can just kind of click your points around and finish the selection that way, but generally, I just kind of like this mode right here, where you can just select and get them all to select at the same point by, again, going to your Connectedness tool.
So, going back to Selected Only, if we hit "p" on the keyboard, with those faces selected and we start painting down, you'll see that it's just keeping our paint in a select, few areas. And even though we have our Paint Through tool on, if we bake that down by hitting "b", it's still going to paint all the way through to the model, but only on those selected faces. So, if we go back to Projection and choose Front, and change our color again, again, it's only going to be painting on our selected faces.
But when we bake that down, it won't go all the way through to the other selected faces on this side and gives us a little bit more control and restraint on where we're projecting on our model, so it doesn't get messy and we can kind of fine tune things the way that we want. And that's projection types.
This course will guide members through the ins and outs of this essential visual effects tool. Author Mikey Rogers, a CG artist who has worked on eye-catching spots for Nike, Google, and Sony, covers everything from initial model import and scene setup to channel and layer creation and export. He also touches on shader creation inside of MARI, which allows you to view your work in a physically accurate environment using HDR lights. The course closes with a series of projects that demonstrate real-world workflows for painting different wood and stone textures.
- Adjusting the cache and other MARI settings for best performance
- Working with adjustment and procedural layers
- Using and customizing the default MARI brushes
- Transforming and warping the paint buffer
- Using different projection modes
- Dynamic masking
- Making a tileable texture
- Repurposing diffuse maps
- Painting wood and stone
- Exporting channels
- Saving out and importing MARI archives