Texturing Tips
polycounter lvl 12
A few members here have asked that I discuss my methods for creating maps. My approach is more suited to a realistic style.
Texturing
When I am first assigned a task, for example an Ammo box. I create A folder called Ammo_Box and I gather as much reference, and textures that relate to that task. If the Ammo box is made from wood, I dont just limit The textures I put in that folder to just ref and texture photos of ammo boxes, I look at wooden planks and doors etc, usually there are some with peeling, or worn off paint. Even if on a texture there is only a small part, which is useful, such as a corner that has worn off paint, I still copy that texture into the Ammo ref folder. Also If later on I am asked to create an old wooden door, and I create a folder for that, some of the texture
gathering has already been done, I just copy some of the textures from the Ammo ref folder into the door one. Then when I am asked to do a door again (which has happened several times) I already have the ref ready, I still look on, for example on CG textures to see if there are any new additions.
To create the maps I use the large amount of texture ref gathered, and if I see a nice bit of worn off paint I layer mask if off, I then do the same on different edges, and if separate images have a different, color or contrast I make them match. In my PSD I create a layer Group called DIF, in that group are other groups, form, a bit like AO but flat with no gradient, it defines the shape better, lighter on top darker at the sides. Its only subtle as so not to look odd when lit. As for the AO I just usually hand do it, or for example in an interior or a train I did I traced the wire filled with pure white set to darken so it disappears then in blending options add an internal shadow, then I may duplicate that and set the shadow to fall off quicker and adjust the intensity of both.
THE GRIME
Then I have grime groups. The groups have a layer mask I trace the UVs with a two or so pixel border invert selection fill with black, now everything I drag on will only affect that piece, I usually have a grime group for every part even the small bits. To create the maps / grime I have a collection of textures which I use as base layers for general overall subtle grime sometimes with many different layers with different opacities and layer blending types. For more specific details such as dents scratches, rust, and worn off paint on the leading edges I use a psd which has layer groups of parts eg one group is called dents and in that group I have many different types, it's a sort of library of parts that I have built up over the years. Some are created from scratch and some extracted from reference pictures/textures, and when I create a new one I add it to the psd. When texturing I just drag on the details and grime, mostly on edges. It also speeds things up. The pattern of wear is as important, as logically placing the wear and tear. I also sometimes use a noise reduction filter on a 1 or 2 setting as some textures have too much noise, but i still want the sharpness. I think visually the eye likes bold details, large-ish patches of rust as a focal point, then some mid scale rust then small scale. Most people put just the small scale rust which from a distance becomes visual noise. With the Darksiders cars I used these layer groups from my psd of parts. Rust, dents, weld seams, scratches, worn off paint showing primer, edge wear, cracked glass, damaged rubber,etc. I just make sure to ask myself these questions while working on a map. Does it have the right amount of shade/form, is there the right amount of detail, too little it can lack realism, too much it can look fussy. The right level of saturation, contrast and sharpness, does it have enough resolution. Also the eye needs visual relief not every edge has to have rust. Zoom out in the 3d package you use to see the model, the texture should be more than noise. Also I make sure to resize down the textures I use normally half size or less it creates a better look.
Normal Maps
To create the normal map, I use Crazy Bump. As Bobby/ Crazyeyes asked about the bricks I will use this as an example. As I build up the Diff in a psd I do the same with the normal. I take a flattened version of the diff, make it grey scale, and put noise reduction on it, then I duplicate it add a sharpen filter and more contrast, the mortar is lighter and once the noise is out of the texture is becomes more solid when the sharpen filter and more contrast are added, I put it on a layer blending mode which only leaves the black, sometimes I also take the original diff make it grayscale and take out less noise and layer mask on the edges of the bricks and mortar, this makes it more bitty when taken into Crazy Bump. Then I take a flattened copy paste it into crazy bump I usually do small detail, then copy that into my psd, then I do some of the other ones shape recognition and copy that into the psd then in levels put the blue to 128 the put it in overlay blending mode, then I play with the layer opacity, and test it in game to get the amount of pop I want. I always set up an action so I can see updates quick
For example
New action assign, say F2 then record, Image, duplicate, flatten, then save to overwrite the existing map. Then when I want to see it updated in Max I just press F2 in Photoshop
And reload in max if it does not update when I rotate the view.
Anyway I have used up my lunch break, a bit more to come another time, perhaps covering how I edit the UVs to look better, and creating tiling maps without offset or cloning.
Thanks
Andy
Texturing
When I am first assigned a task, for example an Ammo box. I create A folder called Ammo_Box and I gather as much reference, and textures that relate to that task. If the Ammo box is made from wood, I dont just limit The textures I put in that folder to just ref and texture photos of ammo boxes, I look at wooden planks and doors etc, usually there are some with peeling, or worn off paint. Even if on a texture there is only a small part, which is useful, such as a corner that has worn off paint, I still copy that texture into the Ammo ref folder. Also If later on I am asked to create an old wooden door, and I create a folder for that, some of the texture
gathering has already been done, I just copy some of the textures from the Ammo ref folder into the door one. Then when I am asked to do a door again (which has happened several times) I already have the ref ready, I still look on, for example on CG textures to see if there are any new additions.
To create the maps I use the large amount of texture ref gathered, and if I see a nice bit of worn off paint I layer mask if off, I then do the same on different edges, and if separate images have a different, color or contrast I make them match. In my PSD I create a layer Group called DIF, in that group are other groups, form, a bit like AO but flat with no gradient, it defines the shape better, lighter on top darker at the sides. Its only subtle as so not to look odd when lit. As for the AO I just usually hand do it, or for example in an interior or a train I did I traced the wire filled with pure white set to darken so it disappears then in blending options add an internal shadow, then I may duplicate that and set the shadow to fall off quicker and adjust the intensity of both.
THE GRIME
Then I have grime groups. The groups have a layer mask I trace the UVs with a two or so pixel border invert selection fill with black, now everything I drag on will only affect that piece, I usually have a grime group for every part even the small bits. To create the maps / grime I have a collection of textures which I use as base layers for general overall subtle grime sometimes with many different layers with different opacities and layer blending types. For more specific details such as dents scratches, rust, and worn off paint on the leading edges I use a psd which has layer groups of parts eg one group is called dents and in that group I have many different types, it's a sort of library of parts that I have built up over the years. Some are created from scratch and some extracted from reference pictures/textures, and when I create a new one I add it to the psd. When texturing I just drag on the details and grime, mostly on edges. It also speeds things up. The pattern of wear is as important, as logically placing the wear and tear. I also sometimes use a noise reduction filter on a 1 or 2 setting as some textures have too much noise, but i still want the sharpness. I think visually the eye likes bold details, large-ish patches of rust as a focal point, then some mid scale rust then small scale. Most people put just the small scale rust which from a distance becomes visual noise. With the Darksiders cars I used these layer groups from my psd of parts. Rust, dents, weld seams, scratches, worn off paint showing primer, edge wear, cracked glass, damaged rubber,etc. I just make sure to ask myself these questions while working on a map. Does it have the right amount of shade/form, is there the right amount of detail, too little it can lack realism, too much it can look fussy. The right level of saturation, contrast and sharpness, does it have enough resolution. Also the eye needs visual relief not every edge has to have rust. Zoom out in the 3d package you use to see the model, the texture should be more than noise. Also I make sure to resize down the textures I use normally half size or less it creates a better look.
Normal Maps
To create the normal map, I use Crazy Bump. As Bobby/ Crazyeyes asked about the bricks I will use this as an example. As I build up the Diff in a psd I do the same with the normal. I take a flattened version of the diff, make it grey scale, and put noise reduction on it, then I duplicate it add a sharpen filter and more contrast, the mortar is lighter and once the noise is out of the texture is becomes more solid when the sharpen filter and more contrast are added, I put it on a layer blending mode which only leaves the black, sometimes I also take the original diff make it grayscale and take out less noise and layer mask on the edges of the bricks and mortar, this makes it more bitty when taken into Crazy Bump. Then I take a flattened copy paste it into crazy bump I usually do small detail, then copy that into my psd, then I do some of the other ones shape recognition and copy that into the psd then in levels put the blue to 128 the put it in overlay blending mode, then I play with the layer opacity, and test it in game to get the amount of pop I want. I always set up an action so I can see updates quick
For example
New action assign, say F2 then record, Image, duplicate, flatten, then save to overwrite the existing map. Then when I want to see it updated in Max I just press F2 in Photoshop
And reload in max if it does not update when I rotate the view.
Anyway I have used up my lunch break, a bit more to come another time, perhaps covering how I edit the UVs to look better, and creating tiling maps without offset or cloning.
Thanks
Andy
Replies
pics would be nice though.
Definitely images and stuff would be even better, but this explanation is already quite usefull for sure, thanks for taking the time to share it !
This is really inspiring. It's great to see people doing traditional art without using Zbrush and their stuff looking better than most Zbrush pieces.
I want to practice my diffuse texturing a lot more and I'm going to save your portfolio as inspiration.
Thanks for sharing Andy.
Thank you for taking the time to explain your workflow. Texturing has been a bear to me, but I will use this as a guide for how to do it with great results.
PS: Please do add picture examples when you can. That would just be the icing on the cake
Yeah, I'm wondering how you would do this too without the beveled edges baked from the high poly.
Inspiring portfolio, makes me want to texture something.