Tài liệu 2D Artwork and 3D Modeling for Game Artists- P5 pdf

20. Relax the arm. 21. Repeat steps 18–20 for the other arm. 22. Stack these two arm pieces on top of each other (one side will have to be flipped to match). 174 6. U-V Mapping the Slogre with DeepUV Figure 6.33 After stacking the hand parts, unwrap the cuffs of the arm using Interactive: Cylinder mapping. Figure 6.34 Unwrap the arms using Interactive: Cylinder mapping. TEAMFLY Team-Fly ® Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. That completes the arms. Just move the components away for now, and at the end you’ll organize the map neatly. Before you continue, choose File, Export, Send UV Update to transfer your work back to 3D Studio Max. It would also be a good idea to switch back over to Max and save your file so you won’t lose your work. Now let’s move on to the head portion of the slogre, which represents the most detail of the model. Step 3: Unwrap the Head and Body Normal human characters have fairly spherically shaped heads, and therefore an Interactive: Sphere mapping would suffice. However, ‘tis not this case for this lovely beast, which will require a combination of Interactive: Sphere mapping plus some cutting and stitching to get it just right. I also want to get more of the neck in there because, according to the sketches in earlier chapters, the underside has a very snake-like appearance. 1. In a Top view, lasso one of the tusks as shown in Figure 6.35 and cut it away. Be sure to deselect any points of the head that you may have accidentally grabbed; if you cut the wrong points, however, you can always re-join them with the rest of the head’s U-V mesh and try again. 175 Unwrap the Slogre’s U-V’s Figure 6.35 Select a tusk in the Top view. Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. 2. Once the tusk is cut away, apply Planar 2 mapping. Because the tusk won’t get much detail other than a cloudy, off-white texture, you don’t have to unwrap or relax it. 3. Repeat steps 1 and 2 the other tusk, stack them, and set them aside (see Figure 6.36). 4. The remaining cluster of points at the top-left of the Material map represents the entire head and body. Select that, and apply Planar 2 mapping (see Figure 6.37). This will give you a nice profile of the character with which to work. 5. Use the Lasso tool to select the forward portion of the head, which will require the most detail on your behalf. Zoom in to the neck region and select the points that spill downward from the head as well (see Figure 6.38); just be sure to uncheck the Back Faces option when doing this or you’ll grab points through the mesh. Once it is selected, cut and move the head away. 6. Apply Interactive: Sphere mapping to the head, again centering it on the selection. Align the mapping technique along the +z axis, and align the seam along the −y axis. (Don’t do this manually; use the alignment control panel in that mapping section!) 176 6. U-V Mapping the Slogre with DeepUV Figure 6.36 Apply Planar 2 mapping to the tusk. Repeat steps 1 and 2 for the other tusk, and stack them. Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. 177 Unwrap the Slogre’s U-V’s Figure 6.37 Select the remaining points on the Material map and apply a Planar 2 mapping. Figure 6.38 Select the forward portion of the head and cut it away. Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. 7. Relax the selection (see Figure 6.39). 8. The lower portion of the map has points that could be joined, so select them and click the Join button. Then, reselect the entire head and relax it again (see Figure 6.40). 9. The face in the center of the map may be a little scrunched, even after relax- ing. This is due to the fact that there is a sharp transition between the face points and the rest of the head, and DeepUV is doing its best to relax it all proportionally. This is why I kept the top portion of my map unjoined, so DeepUV didn’t have to wrestle with it. Zoom into the face area and select it, and click the Relax button again to see it smooth out a bit (see Figure 6.41). 178 6. U-V Mapping the Slogre with DeepUV Figure 6.40 Join the broken portion of the neck area and relax the head again. Figure 6.39 Apply an Interactive: Sphere mapping to the head and relax the selec- tion. Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. 10. You’re finished with the head and face; move that map out of the way for now. 11. Select the rest of the body in the Left view, with Back Faces unchecked (this allows you to select just one half of the body, as shown in Figure 6.42). 12. Cut the selection away from the other half of the body and relax it. 13. Select the other half, and relax it as well. Stack the two pieces together (see Figure 6.43). 179 Unwrap the Slogre’s U-V’s Figure 6.41 Select the face portion of the map and relax it. Figure 6.42 In the Left view, select one half of the body with Back Faces unchecked. Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Pack the Map As I mentioned in the previous chapter, it’s best to pack these maps manually so you can give preference to items that need more detail. The logic is thus: The larger the scale of an individual map item on the Material map, the more texture detail you’ll be able to apply to it. If you were to scale the head portion of the map down to a tiny little piece, how much texture detail would show up once the texture skin was reduced to 256×256 pixels? Not a lot, my friend. So in this case, the pieces that need the most detail are the head, followed by the body, arms, legs, and so on. Figure 6.44 shows my map, packed with preferences to those pieces mentioned. Update and View the Results in Max Once your map is packed, choose File, Export, Send UV Update to send your com- pleted work back to 3D Studio Max. Then, switch back to Max and click on the Modifier tab to see all the stacked updates you’ve sent. The topmost update is the 180 6. U-V Mapping the Slogre with DeepUV Figure 6.43 Cut, relax, and stack the two body halves together. TIP When you place and scale the pieces on the map, use Edit, Free Transform in conjunction with the Shift key to scale the pieces uniformly. Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. latest—to view it, add an Unwrap UVW modifier to the stack, and in its panel, click the Edit button (see Figure 6.45). Now you’re ready to texture the slogre. To com- mence this process, save your scene in Max, then skip to Chapter 12. 181 Update and View the Results in Max Figure 6.44 The completed slogre U-V mapped, packed, and ready to texture. Figure 6.45 Export the final ver- sion of the map back to Max.View the completed mapping in Max using an Unwrap UVW modifier. Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. Summary In this chapter, I showed you how to import your slogre mesh from Chapter 4 and complete it using 3D Studio Max attaching, optimizing, and smoothing techniques. The U-V coordinates, which represent the way the skin texture for the model will be wrapped around it, were exported to DeepUV. This program allowed us to iso- late and unwrap individual portions of the slogre’s U-V’s, thereby generating a two- dimensional and easily texturable skin map. The combination of Max and DeepUV rendered this entire operation painless and swift and prepared the model for its texturing phase, which is covered in Chapter 12. 182 6. U-V Mapping the Slogre with DeepUV Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. PART THREE Texturing the UV’s with DEEPUV Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark. [...].. .Game Texturing 8 Inorganic Texture Tutorials with Photoshop 9 Advanced Texturing Examples 11 12 Organic Texture Tutorials with Photoshop TE 10 AM FL Y 7 Skinning the RF-9 Plasma Gun with Deep Paint 3D and Photoshop Skinning the Slogre with Deep Paint 3D and Photoshop ® Team-Fly Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark CHAPTER 7 Game Texturing Please purchase PDF. .. like someone tried to cement over the wall, and over time it broke away Figure 7.4 Compositing a real picture with a handdrawn image to make a viable texture Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark 189 190 7 Game Texturing Seamless Textures Seamless textures are an art form in themselves I don’t think there’s a 3D video game out there that doesn’t have hundreds of... your game called for you to create a texture for the side of an old train car Just get a really good snapshot of the car in broad daylight, clean it up a bit, and slap it on the side of a 3D model— it’s much easier than spending a couple hours trying to make something real The most common case of photo-based texture usage probably is with brick walls Games sometimes have a gazillion of them, and you... digital camera, head into the big city, and go nuts Figure 7.3 shows a seamlessly tiled brick wall texture I made from a picture I took of the side of a building I toned it down and cleaned it up a bit so it would be more appropriate for a video game Figure 7.2 A freehand texture map applied to the skin of a butterfly model Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark Types... you can achieve a great base texture for them using only a handful of Photoshop’s filters Textures for humans, insects, or anything else with complex detail, however, can be a real challenge for someone like me who has limited freehand artistic ability Figure 7.2 shows a weak example of a texture map I made for a butterfly I’ll show you how to make skin textures for the Slogre model later on in Part... ends meet After playing with it a bit, toning down some of the colors here and there, I managed to make the wall look nice, smooth, and even Figure 7.5 A seamless brick wall fixed for proper continuity Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark Summary Animated Textures Often in games you’ll see random belches of steam coming out of a pipe, or a flow of water gushing... textures are created; one for the light being on, and one for off The game engine will handle alternating the two during game play (see Chapter 9, “Advanced Texturing Examples,” where I show a simple on-off animation of two textures that creates the illusion of a power switch being activated) Summary The texturing world is truly divided between two different categories: inorganic and organic Inorganic... texture is seamlessly tileable for a large wall, or animated as a sprite to simulate steam, the next few chapters will guide you through these detailed processes so you can generate your own outstanding game textures Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark 191 This page intentionally left blank Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark... not a random process A good artist will spend time creating and organizing textures to fit a particular scene or level so that everything comes together somewhat fluently, and that nothing will seem out of place Textures are usually created in sets—that is, if you’re creating a dungeon, you’ll create a “dungeon set” by grouping appropriate artwork for the stone walls, floors, and ceilings; and wood... be too detailed unless the game s engine calls for it In fact, the average game s texture is around 256×256 pixels in size; not a whole lot of detail can be crammed into that Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark 196 8 Inorganic Texture Tutorials with Photoshop With that in mind, all the following procedures can be mixed and matched and placed just about anywhere . Deep Paint 3D and Photoshop 12 Skinning the Slogre with Deep Paint 3D and Photoshop TEAMFLY Team-Fly ® Please purchase PDF Split-Merge on www.verypdf.com. panel–two textures are created; one for the light being on, and one for off. The game engine will handle alternating the two during game play (see Chapter 9, “Advanced