Beefs Hand-painted Textures
For the past three years I have been teaching myself 3D Modeling, and hand painted texturing.As seeing I have reached as far as I can with my limited resources. I am asking for assistance from tips to explanations, mainly for texturing.
https://p3d.in/f63rT/shadeless
Thanks in advance. Have fun Criting.
https://p3d.in/f63rT/shadeless
Thanks in advance. Have fun Criting.
Replies
you need to check out color variation and ambient occlusion
your colors are quite flat and the pieces need more depth, lighting and contrast to be painted on
i thought you referred to limited resources as software... because i dont think
internet tutorials are a limited resource
if you have the chance to get your hands on 3dCoat its one of the coolest
tools to handpaint, because you paint on the model itself instead of the map
(but still not vertex based but uv pixel based).
i think you should first paint some flat material studies
like check out suzanne helmighs
to understand how color, light, shadow, reflected light and so on
also may check out https://www.facebook.com/ArtOfAnasRiasat he/she (dunno) paints traditional and fakes 3d looks by painting like a renderer would do passes, theres some nice tutorials on the page about how the layers of 3d look like.
Awesome work of suzanne, this is a great idea to practise
maybe work on them until you mastered them and then proceed to another material
FREE
- Hand Painted Primer on youtube
- Study hand painted textures and try to emulate the style (not copy pixel for pixel) Don't be afraid to color pick or really push your limits.
- It's worth mentioning that blender can allow you to paint directly on a model if I am not mistaken, though I haven't used it and don't know how in depth it is.
Money- 3DMotive subscription - There are a few hand painted tutorials here that are awesome. Namely the weapon tutorial by Tyson Murphy and the house by Ryan Ribot. Both are great and it is worth mentioning that Tyson is a lead character artist at Blizzard for WoW.
- Kelvin Tan on Gumroad - I actually haven't checked these out yet myself but I intend on buying them in the next week or two (waiting to see how that Steam sale pans out on my wallet first). Kelvin is another Blizzard artist and he seems to know his stuff.
- 3D Coat is about $100 but the steam sale is going on so if anything I would keep an eye on it for the next few days. You never know if it may go on sale. I bought it back around Christmas time and it is awesome.
Check out some of these resources and just practice practice.Different materials have different value ranges. For example, on a scale of 10, where 1 is pure white and 10 is pure black, a matte surface could have as little a value range as 4-7, whereas a polished metal surface could go all the way from 1 to 10. This goes back to studying surfaces from real world references, often stripping them of colour to better understand their values.
Here's a quick reference:
The importance of value in painting
Don't forget that the circles you're using aren't just circles in the exercise. They're spheres. Whatever you texture them with should curve around the surface of the sphere. When you're texturing models you want to be aware of the forms of the mesh so you can texture to the flow of the model (ie, texturing a muscle curve accurately). You're texturing those spheres like they're just a flat surface and not a 3d object. If you look at the original picture you can see that all the spheres are believably curved.
Don't forget as well that you want to light them as though they are 3d objects. Hand painted models will usually be presented unlit - YOU have to fake lighting and shadow to give them depth and not rely on the program to. Your sword textures in particular are really flat and have no lighting and value depth to them. Take a look at a weapon like this:
If you study it you can see that theres a lot of rich deep shadows and lighting. This really makes it pop. Compare it to your sword, and you can see that yours is really flat. There's really minimal shading around the areas that would cast shadows, and no highlights anywhere to draw your eye. Try remembering to add shadow gradients to places to draw the viewers eye to the more detailed or important areas.
You have the same problem with the material texture exercise. The spheres look REALLY flat. Don't forget that you're not only adding detail when texturing, but you also need to fake those shadows really hardcore.
You're lacking sharp shapes in your texturing too. Sure this style is hand 'painted' but if you dont include sharp lines and shapes and detail the texture looks muddy and unfinished. Again, in the sword I posted above, you can see that theres lots of sharp added shadows and highlights to create detail. Dont be afraid to switch to some hard edge bushes to do a polish pass.
Finally, you should check out 3d Coat for texturing models! My favourite program ever - itll really help you understand how to paint efficiently on a 3d surface.
Personally I find anything below 70% opacity gives muddy results, so I keep my brush at about there often.
I keep flow at 100% all the time.
what you need now is look at other painted swords then get some value that is a lot stronger
than the ones you have (brighter) but not totally white and add shiny small details
again look at references thsi stage is superfast overdone and it looks like some blingbling sword instead of metal. also add more darks on the really dark areas and then lets see how it looks like
[ame]
he's very popular among people starting out and it's the best way to start imo...
The most useful thing I got from his master class was the formula he uses to define his highlights and shadows...
Today, I'm able to paint without his formula and just raw but using his screen/multiply formula is still by far the most controlled pipeline that I've come across so far so if you want to add those really fine highlight details this is definitely one of the best ways to go about it... in retrospect of the sword you've just painted... using one screen layer to knock out those fine line highlights on the blade edges are perfect... the best thing is to just keep drilling at these paintings and you'll get better faster than you realize (Y)
Hand painting is all about subtlety and patience, with metallic surfaces their value range is a lot harsher than anything else like rock/stone etc... so to really push the metallic material definition your greys need a blend towards a much darker value and your light greys need a few blends towards the brighter values along with a few surface details which can be defined by happy mistakes while painting (Y)
keep going n__n