Using Texture Stencil

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Current Gen 3D Game Prop Production

Университет штата Мичиган

Курс 3 из 4 — Art for Games Специализация

In this course you will learn to create a photo-real game prop using modern game art production techniques. You will gather reference, generate a base model, create a high polygon model, bake details onto a low poly model, and then texture and present a final portfolio piece. This course is aimed at students who have some knowledge in 3d and game art and would like to learn more advanced techniques employed in the creation of modern game assets. We will be using Maya, Zbrush, Marmoset, and Substance Painter extensively throughout the course. When you are finished you will have your own model based of of a real-world prop suitable for use in modern game engines.

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Из урока

Week 5: PBR Texturing

In this module you will take your low-poly model and add back the missing detail from the high-poly by baking texture maps. You will also use Substance Painter to add color, material, and micro-details not present in the high poly. This is where the model will start to become photo-real. The goal here is to take a well crafted model and use texture maps to bring it to life.

Creating Initial Textures in Substance Painter10:28

Adding Height-Map Details17:48

Creating a Texture Stencil7:49

Using Texture Stencil9:18

Additional Details9:25

Texturing Surface Noise, Dirt, & Wear20:37

Indicator Light12:59

Преподаватели

Andrew Dennis
Professor of Practice

Текст видео

In this video, we'll use the stencil we created

in the last video to add details to our model.

To bring it in, all we have to do now is just drag and

drop those stencils right into substance painter,

and we'll get it right inside of

our shelf and then we can drag it into our stencil.

I have a new fill layer with

a black mask here called white paint.

All I have to do is take this stencil,

just like the one we used before for

the grips and line it up in our view-port.

So we can paint on top

of the objects that we're looking for,

making sure I'm set to orthographic view.

If I come over to this lock section,

making sure my brush is on white

and my space is set to UV.

We can see we can paint the words right onto the surface.

Let's pop into our side-by-side view.

We can see now that it's applied

that on top of the unwrap.

So let's go to the other side

where we want to do release.

We can just pan over, make sure everything's pretty even.

Because we're in a UV, it's going to

actually paint straight through.

It'll ignore what's over top of it.

So you can see it did paint release all

the way through although it did

cast a little paint on the underside of this whole thing.

So we just go back with

painting back in black and we can use

this little eraser tool to

erase any of this paint we've already put in.

I like to do this with Phil layers and

masks because it lets me change things

like the paint color and roughness and maybe

even a little bit of height information after the fact.

So let's erase away

this other extra text that we add in here.

We can move on to the next bit.

We're going to create a new layer and this

time it's going to be named gold paint.

Just like before, I can add a black mask.

Drop in my stencil

and by holding S and doing the right, middle,

and left mouse buttons I can pan,

I can scale, and I can rotate just my stencil.

So between moving my view-port and moving my stencil,

I get a lot of control over where it's going to go.

I want to rotate my stencils,

so it feels like it hits the right line.

I know that my power buttons and

my Fuji non little logo should

be relatively sized to each other based on the stencil.

So I want to make sure I pick

a location for everything and that I

don't Zoom in or out after I set the next piece.

So I'm paying attention to where

the power off and the one and two power on

standby activate stabilizing standby

should be located on this top piece.

So I'm going to start speeding up

my process here because you'll see,

it more or less covers

the same techniques that I've done,

that I'm doing already just different areas in

different regions painting and erasing end.

Then I can choose my color of

paint and choose its reflectivity.

See how that looks when I change its glossiness.

Now, I want to make sure my size is

still relatively correct and I'm going to

paint in the Fujinon logo.

I'm going to add a little spot for my green paint here.

This is one of the things I really think is really

cool about this particular step to me.

This is when all the work pays off and texture.

It's just fun because

I get to see all the modelling I've done,

all the baking I've done,

the high poly, low poly,

the UV unwrapping, and I get to just start adding

little details like this that

really start bringing the level of realism out.

So when we combine all of those together

into a single layer.

So this will just be my paint layer

just a little organization.

Now, I'm going to add a little badge icon.

Something again I could have modeled out, but I've done.

I'm going to do the whole thing with stencils instead.

I'm going to use a fill layer and a black mask

and paint in where I want to square and I'm just

using the color difference

to tell where it's going to be.

It needs to be a slightly different gray.

I'm going to use that blur and layers trick that I did

before to get some nice round edges to everything.

Play with the height a little bit.

So I can inset it and then I duplicate that.

I'm going to use color, so I can click on

this red color so I can

tell where the effect is happening.

Then I use my blur and my levels.

So this is going to help show

me what I'm working with here.

So I can get some nice rounded edges and I can

shrink it relative to the rest of the object.

Then I just turn color off,

turn height back on,

and then adjust the levels on

both sides of this a little bit.

Give it a nice little group to go

into and adjust my stencil,

just so we can get the Fujinon part of

this logo right over the badge.

Now that I have that painted into logo part,

I can use height and give it a little metallic color.

It gives it a nice embossed look right away.

Much quicker than if I try to model that all by hand.

The next thing I want to address is

the little degrees indicators

that are on the view lenses.

So I make a new fill layer.

I'm going to name this one degrees

and throw black mask in it,

and just stencil the 70 and the 60 in one at a time.

I turn off my other layers and I'm going

to put a red color onto degrees,

so that I can see where it's being painted on.

Once I have position I like,

just going to use a simple Alpha.

One of these little dot based ones that

shaped parabola with

a little hardness will work just fine.

I can make a couple of dots.

I'm just try to space those out manually.

It's pretty small feature,

so I have to be too careful with it.

Once I have that, I can turn off

the color and focus on the height value,

and control it with a blur filter and a filter.

Just like I do with the other features.

This case I replace that levels with the client filter.

It gives me a little bit more control.

Finally, I have the little stripe

to show how things lined up.

I also have a similar stripe on

the bottom of this view port that's going to show me,

it shows me what I have

selected in terms of the plus and minus here.

So I'm going to make another IPs normal,

and pick this shape capsule

because it's going to give me some nice round edges.

They don't have to be pretty simple shapes,

so I'm just going to stamp it out,

and then erase away the rest that I don't need.

Add a new fill layer and this time,

we're looking for the CE.

The process for these next pieces is pretty similar,

so I'm going to speed up through

this and you can just see

where I apply them and watch the same techniques.

But just to you know, I'm doing

the exact same thing where I create fill

layer and make a mask for it.

I paint through it and then I start adjusting height,

give it a little blur every now and again

with a clamp to get some more control over it.

Other than that, it's the exact same process.

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