There are billions of stamp like brushes out there, in theory they look great, but often are the wrong res, orientation. Its also easy to over repeat a stamp or spend just as long as it would take to paint the detail, tweaking the brush to work.
3 Brushes I think everyone should make (that are easy to make). I won't post the brushes themselves, I think learning to make your own is a much more valuable skill to have, then having a bloated library. I'm also going to guess at these settings so you'll probably have to tweak them to get good results, that's good you'll learn =P
Weld marks:
Take a hard round brush and tweak its settings
Turn on Scattering, check on both axis, and set the scatter to 120% and the count to 4-ish
Turn on Color Dynamics and set the foreground/background jitter & brightness jitter to 15%
Turn on Other Dynamics and set the opacity jitter to 95%. Set the flow jitter to 40%
Now sample a bright color for your foreground, and a dark color for your background.
Paint your welds.
Hair Brush:
Create a blank canvas, pretty small like 32x32 or 16x16, with a white background.
Paint a few black dots of varying opacity and size.
Select all > Edit Define brush call it hair.
Tweaking the color dynamic fore/background jitter can also help paint high lights and shadows.
Grass:
Same as above only this time paint a few strokes that are blades of grass instead of dots.
Turn on the opacity jitter set it to 5%
Set the spacing to a number that looks right.
Turn on scatter and set it to 50%
Make sure to make the blades less opaque at the top and darker by the roots.
Set the color dynamic fore/background jitter to 25%
Set your fore/background colors to light/dark contrasting shades.
When you're done painting the big blades shrink your brush "[" and paint some smaller/darker blades of grass down by the roots, might have to turn up the scatter so they are properly spaced out.
So there ya go 3 brushes you need, and the rest can pretty much be done with square/round hard and soft brushes with some tweaking as you go. Try to stay away from the countless thousands of stamps.
I would recommend trying out some of these and then compiling your own favorite brushes into a new set so that they are easy to select and use. Ive got about 7 brushes which I use alot and others are just for details so I keep those 7 handy and leave out all the rest until I get to detailing stage.
To add some input of my own...I've been doing a lot of texturing over the past year (some 100 or so complete during it) and I can say that I haven't used many brushes at all. I tend to stick with a simple hard-round brush, set to wet for 99% of my texturing.
I used to use several different brushes, but lately I prefer the greater control in just painting it with my default one (although yea, it may take more time).
Yes, Vig tells the truth. Start making your own brushes if you haven't done it before. Once you've done it a few times and understand what the settings do, it's very easy and can save you tons of time.
I have a bunch of custom brushes that I've made that are my standbys, but for almost every project I end up making a little mini-set of brushes for specific tasks. I could hunt for days to find some of the brushes that I've made in 2 minutes. And sometimes these brushes knock of a lot of time in painting things.
Basically when texturing, I divide the mesh up by material. That means that each material shares a unique texture sheet with very few exceptions. Every piece of mesh needs to be UVedited to achieve this. I find the use of pelt mapping very convenient for complex shapes like these. After the UVediting, I usually render a template of the UV (after subdividing the mesh at Step One) so that I have a base to paint over the diffuse texture.
The diffuse texture is a mix of photorealistic metal textures and painted rust/dirt. I used a free brushes collection made by and courtesy of Andreas Byström.
wow great weld brush Vig!
one question though: what parts work best with pen pressure? all of them makes it kind of hard to control, and none makes it suck, so what settings do you use there?
Replies
here's 'series 43'
http://creativemac.digitalmedianet.com/articles/viewarticle.jsp?id=49644
TONS of good stuff in here.
There are billions of stamp like brushes out there, in theory they look great, but often are the wrong res, orientation. Its also easy to over repeat a stamp or spend just as long as it would take to paint the detail, tweaking the brush to work.
3 Brushes I think everyone should make (that are easy to make). I won't post the brushes themselves, I think learning to make your own is a much more valuable skill to have, then having a bloated library. I'm also going to guess at these settings so you'll probably have to tweak them to get good results, that's good you'll learn =P
Take a hard round brush and tweak its settings
That weld brush is a bit cool vig. Now I dont need to manually paint each weld mark with a round brush!
some of my favorites are from this set
http://www.imaginefx.com/02287754332606896693/the-custom-brush-guide-skin-and-hair.html
To add some input of my own...I've been doing a lot of texturing over the past year (some 100 or so complete during it) and I can say that I haven't used many brushes at all. I tend to stick with a simple hard-round brush, set to wet for 99% of my texturing.
I used to use several different brushes, but lately I prefer the greater control in just painting it with my default one (although yea, it may take more time).
I have a bunch of custom brushes that I've made that are my standbys, but for almost every project I end up making a little mini-set of brushes for specific tasks. I could hunt for days to find some of the brushes that I've made in 2 minutes. And sometimes these brushes knock of a lot of time in painting things.
http://features.cgsociety.org/story_custom.php?story_id=4396&page=2
one question though: what parts work best with pen pressure? all of them makes it kind of hard to control, and none makes it suck, so what settings do you use there?