Tài liệu 2D Artwork and 3D Modeling for Game Artists- P7 ppt

274 Inorganic Texture Tutorials with Photoshop Image: Adjust, Levels Input Levels: 151, 1.00, 173 Output Levels: 0, 255 28 Ctrl+click the Alpha channel to load the selection 29 Create a new layer in the Layers palette, and fill the selection with the darkgreen foreground color (see Figure 8.120) TE AM FL Y Figure 8.120 Select the Alpha channel’s opacity to load the mortar selection Fill the selection with the foreground color on a new layer 30 Choose Select, Inverse (Ctrl+Shift+I) 31 Press Q to enter Quick Mask mode ® Team-Fly to remove this watermark Please purchase PDF Split-Merge on www.verypdf.com Rock and Stone Textures 275 32 In Quick Mask mode, choose Filter, Brush Strokes, Spatter (see Figure 8.121) Figure 8.121 Invert the selection and enter Quick Mask mode Apply the Spatter filter to chop it up Filter: Brush Strokes, Spatter Spray Radius: 19 Smoothness: 33 Press Q to exit Quick Mask mode 34 Press Delete to create the choppy effect on the top layer Then press Ctrl+D to deselect it 35 Choose Filter, Noise, Add Noise (about 10%) 36 Choose Filter, Texture, Craquelure to enhance the mortar (see Figure 8.122) Figure 8.122 Apply the Noise and Craquelure filters to the mortar layer Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark 276 Inorganic Texture Tutorials with Photoshop Filter: Amount: Distribution: Monochromatic: Filter: Crack Space: Crack Depth: Crack Brightness: Noise, Add Noise 10% Uniform (checked) Texture, Craquelure 20 37 Click Stop on the Actions palette to stop recording That’s the wall texture in a nutshell By itself, it will tile seamlessly; when viewed from a short distance, however, a player will see the same bricks repeating themselves You need to record a final routine that will simply make a copy of the base texture, start a new image, and replace only the whole stones in the image By retaining the split edge stones, you retain the ability to tile other textures with each other To accomplish this, record a new action that does the following: Selects the first layer of the stone wall Copies the layer to a new image Copies the mortar layer to the new image Applies the Medieval Stone action to each of the six whole stones in the texture In Figure 8.123, the first texture is the one you just did The second stems from an action I made to replace only the six whole stones using the Medieval Stone action Now I have two textures whose edges tile seamlessly and whose stones are different from each other To complete the set, I created four different tiles using this Medieval stone action (see Figure 8.124) Matching stone here Figure 8.123 The second texture is based on the first; only the six whole stones have been replaced Matching stone here Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark Metal 277 Figure 8.124 A completed stone wall set Any texture in the set can be randomly tiled with any set member NOTE TIP From now on, creating any color wall in seconds is just a matter of setting new foreground and background colors, then playing the Stone Wall action I make tiles for my set by playing a stonereplacement action called “Patternize,” consisting of the steps I mentioned just before Notice that some of the stones in the set have cracks in them—try adding a stop just before the call to the Gaussian Blur in the Stone Wall action.When you play the action, the stop will pause the action at that point; just spray thick lines in your Alpha channel where some cracks would go Click Play to resume the action Metal Being a very high-tech kind of guy, most of the video games I appreciate are fully loaded with heavy machinery, futuristic equipment, spaceship hulls, underground research labs, you name it As with the other textures you’ve made, metal textures can be hand-made, taken from photograph, and more often than not, a composite of both What I find most striking about texturing metal is how sharp and effective beveling styles and displacement channels can be Let’s start with a few simple tutorials, then add to them as we go Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark 278 Inorganic Texture Tutorials with Photoshop Basic Metal This is a simple filter-based brushed metal procedure that can be applied to any object requiring a finished metal look, like elevator doors or a control panel Start a new 600 × 600-pixel RGB image (You’ll reduce it to 512 × 512 pixels on the last step to get rid of the smearing effect.) Set your foreground color to a medium gray, like hex# A7A6A6 Press Alt+Backspace to fill the canvas with it Choose Filter, Noise, Add Noise (about 25%), as shown in Figure 8.125 Figure 8.125 Fill the image with gray and apply the Add Noise filter Filter: Amount: Distribution: Monochromatic: Noise, Add Noise 25% Uniform (checked) Choose Filter, Blur, Motion Blur (about 50 pixels), as shown in Figure 8.126 Figure 8.126 Apply the Motion Blur filter Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark Metal Filter: Blur, Motion Blur Angle: degrees Distance: 50 pixels See the smearing/streaking that’s going on at the left and right edges? Crop it by clicking Image, Canvas Size, and entering 512 for both the width and height Now you have basic metal 279 NOTE You can play around with the Distance amount; setting it anywhere from 10 to 60 pixels yields a texture that looks like real brushed metal (the type you see on elevator doors, panels, and whatnot) Shiny Metal To the texture you created in the previous section, you can apply the Lighting Effects filter coupled with a Curves adjustment to illuminate the metal texture’s surface and enhance its specularity Using the completed metal texture from the previous example, choose Filter, Render, Lighting Effects Use a spotlight for this one, making sure the light is pointing straight down and high above, encompassing the entire texture Don’t make the top of the texture too bright; you only want to vary the surface shine so the Curves function can its job (see Figure 8.127) Figure 8.127 Apply the Lighting Effects filter to the basic metal texture, using a semi-distant spotlight Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark 280 Inorganic Texture Tutorials with Photoshop Filter: Light Type: Intensity: Focus: Gloss: Material: Exposure: Ambience: Texture Channel: Render, Lighting Effects Spotlight (vertically) 28 69 69 NOTE Feel free to play around with this to get the shininess you want Curves can be a (none) To enhance the specularity, click Image, Adjust, Curves Adjust the curve you see so that it looks like the one in Figure 8.128 pain, and in most cases, only a seasoned art pro will quickly know how to set the Curve function appropriately If you’re having a hard time getting a curve just right, try loading the shinymetal.acv file in the Chapter Data section on the CD-ROM Figure 8.128 Adjust the Curves function to enhance the texture’s specularity Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark Metal 281 Choose Image, Adjust, Levels, and adjust the levels a bit to suit your taste (see Figure 8.129) Figure 8.129 Adjust the levels to suit Metal from an Image The next time you go to any type of building that houses a public business, bring your camera (of course, tell the people at the front desk what you’re doing before you take any photos lest they nix you from the place) The countertops, bathrooms, and elevators are bound to be trimmed out with brushed metal These images make outstanding base materials with which to work because their general composition is linear but slightly heterogeneous, ideal for beveling operations NOTE Why am I going into so much detail with textures? After all, most games have textures that average at best 256×256 pixels! Well, when you concept art for the characters, box cover, posters, and what have you, the artwork will need to be at least the detail and resolution we start with, and averaging 3000×3000 pixels at 300 pixels/per inch! Start that image in Photoshop Blank, it’s 25 MB By the time you’re finished, it might be well over 100 Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark 282 Inorganic Texture Tutorials with Photoshop For this next example I want to give you some ideas for beveling metal You’ll create a set of institutional doors with some personality Open the brushedmetal.jpg file in the Chapter Data section on the CDROM (see Figure 8.130) This is a cropped image of the side of a gas pump (see gaspump.jpg to view the original) Figure 8.130 The brushedmetal.jpg image Make a copy of the background layer so there are two layers of metal Click on the bottom layer and fill it with black That way, when a player punches or tears through the metal, a void will be revealed You can then put other stuff between the background and the metal layers, like pipes and wires Select the top layer Using the Rectangular Marquee tool, select the entire left half of the image (This might be easiest if you set the tool to Fixed Size, and enter 256 pixels for the width and 512 pixels for the height.) Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark Metal 283 Right-click on the selection and choose Layer Via Cut (see Figure 8.131) This places the door halves on separate layers Figure 8.131 Select half of the image and cut it onto its own layer To raise the surface of the doors, double-click one of the door’s layers to bring up the Styles screen and apply an inner bevel Apply this same style to the other door (see Figure 8.132) Figure 8.132 Apply inner bevels to both doors Style: Style: Bevel and Emboss Inner Bevel Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark ... drop shadows, and styles in general: Assume, when making textures, that the global light for your game is a light source positioned high overhead and not off at an angle—unless your game company... the smearing/streaking that’s going on at the left and right edges? Crop it by clicking Image, Canvas Size, and entering 512 for both the width and height Now you have basic metal 279 NOTE You... concept art for the characters, box cover, posters, and what have you, the artwork will need to be at least the detail and resolution we start with, and averaging 3000×3000 pixels at 300 pixels/per