Tài liệu 2D Artwork and 3D Modeling for Game Artists- P10 doc

424 10 Organic Texture Tutorials with Photoshop 13 To the top layer that contains the cell pattern, apply a downward inner bevel The bevel should have full depth to enhance the dark features of the cracks (see Figure 10.37) TE AM FL Y Figure 10.37 Add a downward inner bevel to finish the texture That’s it! You can adjust the levels to suit your needs from here—just remember to flatten the image The only down side to this texture is that it’s not quite seamlessly tileable—you need to manually offset it with Filter, Other, Offset, and take your time getting rid of the obnoxious seams with the Clone Stamp tool Figure 10.38 shows this texture in action Also, you might try using the Alpha channel you created as a displacement map in conjunction with the Lighting Effects filter to raise (or lower) the individual cells of the texture Figure 10.38 Not an attractive scenario Sun block 200, anyone? ® Team-Fly to remove this watermark Please purchase PDF Split-Merge on www.verypdf.com Planetary Textures 425 Water Here’s a quickie with guaranteed results using a filter I’ve yet to demonstrate in this book The uniqueness of this texture is not just in the filtering, but in the mesh onto which it is placed In almost every 3D game on the market, there exists the level-design capability to activate some type of vertex displacement mesh That is, you should be able to dictate certain areas of your terrain to be in constant, random, wave-like motion within a fixed range In the case of this example—which could easily apply to lava, boiling acid, and the like—a water texture is applied to an area of geometry within a level whose vertices slowly shift back and forth, slightly expanding and contracting the texture to make the area appear liquid Torque, Unreal, and Quake, to mention a few, are engines quite capable of this physics technique Pretty much any organic-looking texture will work on these objects Start a new 512×512-pixel, RGB color image Fill the background layer with the Clouds filter, using medium and light sky blue colors, like hex# 476378 and hex# 547890 Choose Filter, Texture, Stained Glass (see Figure 10.39) Figure 10.39 With a bluish background, apply the Stained Glass filter Filter: Cell Size: Border Thickness: Light Intensity: Texture, Stained Glass 30 Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark 426 10 Organic Texture Tutorials with Photoshop Choose Filter, Distort, Wave (This is a complex filter, and I had to play around a bit to get it right; see the Settings alongside the figure for my adjustments.) Choose Filter, Distort, Ocean Ripple This will add that signature water look to the texture (see Figure 10.40) Figure 10.40 Apply both the Wave and Ocean Ripple textures to get the water in motion Filter: # Generators: Wavelength: Amplitude: Scale: Distort, Wave 15 30/87 39/97 21/21 Type: Filter: Ripple Size: Ripple Magnitude: Sine Distort, Ocean Ripple 3 Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark Summary 427 You’re set! Figure 10.41 shows the Torque engine with the water slowly moving back and forth—giving the illusion that it is washing up on the shore Keep experimenting with different-size cell patterns and whatnot for more blatant effects Figure 10.41 The water texture in action Literally Summary Organic textures are those that I consider representative of living things or other worldly objects not man-made This chapter covered the redirection of many of the texturing techniques described in the previous chapters so that you can create textures suitable for skin, clothing, land, sea—all of which can be used in nearly every 3D game engine on the market Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark This page intentionally left blank Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark CHAPTER 11 Skinning the RF-9 Plasma Gun with Deep Paint 3D and Photoshop Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark 11 430 Skinning the RF-9 Plasma Gun T his chapter picks up where Chapter 5, “U-V Mapping the RF-9 Plasma Gun with DeepUV,” left off Here, you’ll use your newly developed U-V texture map to texture the RF-9 in both Deep Paint 3D and Photoshop Figure 11.1 illustrates your current location in the compound-asset creation process In this chapter you will ■ ■ ■ ■ ■ Dissect the RF-9 sketch and consider texturing possibilities Receive an overview of what texturing techniques you’ll be employing Link 3D Studio Max, DeepUV, Deep Paint 3D, and Photoshop to create a fluent texturing operation Use Deep Paint 3D to assist your 3D texturing in conjunction with Photoshop Texture the RF-9 using advanced texturing techniques In this chapter, you’ll use Lars’ sketch of the slogre’s weapon, the RF-9 Plasma Gun, in combination with the 3D mesh you created in Chapter 3, “Modeling the RF-9 Plasma Gun with trueSpace 6,” to develop a nice, futuristic skin texture for the weapon Figure 11.2 shows the completed texture applied to the weapon Figure 11.1 This stage in the compound asset– creation process Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark Identifying the RF-9 431 Figure 11.2 The texture you’ll be making in this chapter, applied to the RF-9 Identifying the RF-9 In Chapter 3, you created the RF-9 using trueSpace As you went along, I briefly explained what certain sections of the gun were and gave a quick explanation of the function of that particular part of the weapon I’m going to re-list them here, but go into further detail to give you an idea where my thinking goes for texturing that part Figure 11.3 shows Lars’s sketch again, labeled numerically Figure 11.3 The RF-9 sketch and its various parts Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark 432 11 Skinning the RF-9 Plasma Gun The overall theme is that of a futuristic, other-world weapon that the huge slogre character will be wielding against his enemies I want the weapon to look purposeful and weathered, but made from materials that are familiar to our own planet The shape alone is enough to sell anyone on the fact that it’s from some sort of sci-fi saga, but the texture will authenticate it even further By knowing a bit more about the portions of the weapon, you’ll be able to envision your own texturing process more easily Muzzle This is the resonating chamber, where the charged energy pellet enters a plasma-injection chamber and gets superheated in a fraction of a millisecond, before it gets on its way to removing a nearby targeted object from existence This is a large, smooth area but has a metal support plate welded to the lower half to support the upper cylinders Because you didn’t model that, you’ll add that detail in as a faux finish Notice that the front of the muzzle steps down and ends up with a flashing with vent holes You’ll put in shaded/beveled areas to represent them nicely Overall, the muzzle obtains the highest concentration of energy compared to the rest of the weapon, and therefore should exhibit more signs of heat exhaustion and wear and tear Barrel The barrel is the acceleration chamber for the charged energy pellet See the circular device at the back of the chamber, just above the grip and trigger? That’s the removable pellet clip, holding up to 100 rounds of static energy pulse modules that, when activated by the trigger, bolt forward and begin expanding along the length of the barrel Once it hits the resonating chamber (muzzle), it gets superheated with plasma, after which all hell breaks loose, literally, from the end There are several key points about the barrel I want to further explain: a This is the cooling jacket of the inner barrel That is, essentially there are two barrels, one inside the other, which you’ll simulate in Photoshop (see the sections on rendering pipes, wires, rivets, and screws in Chapter 8, “Inorganic Texture Tutorials with Photoshop”) By knocking out an array of holes along the outer barrel, you can achieve that cool style b This is an insulating cable jacket that guides processing and timing wires from the trigger to the resonating chamber Essentially, when the slogre pulls the trigger, the charged energy pellet is released, and instantaneously a signal is sent from the trigger through the wires in this cable jacket to the area just behind the resonating chamber to release a plasma concentration There is a cable jacket for each side of the RF-9—the other side returns a plasma-completion signal back to the pellet clip, Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark Identifying the RF-9 433 indicating that the cycle is complete and that the clip is allowed to turn, electronically, to prepare the next pellet Because you didn’t make any mesh modifications to make way for these cable jackets, you’ll have to fake them Making that flexible hose-like pattern in Photoshop, however, is a pain, so I’m going to create a hose model in trueSpace, render it, and apply the rendering as a 2D image within the texture space c These are metal braces that further fasten the muzzle to the barrel You didn’t model these either, so some clever beveling will give it a 3D look d This is the pellet clip—it sticks out on only one side, so when the slogre expends the clip, it ejects and he slaps in a new one No big texturing deal here You’ll use some Photoshop bevels to make it look raised e This is the vent hole for the energy cell located directly behind it that powers the entire weapon The cell is very heavy, in the ballpark of 20 pounds, but the slogre’s overpowering arm is quite capable of hoisting the RF-9 upward There is an identical vent on the other side Grip The slogre’s hand is huge, and has 10-inch long nails for slashing enemies Such bulk, however, hinders his dexterity, which is why the grip and trigger are simplified and oversized The end of the grip is a twin blade that our lovely behemoth can use to impale the heads of unfortunate saps that get too close Notice that the back curve is designed to fit snugly in the recess of the slogre’s hand, between his thumb and index finger There is a slightly organic pattern to this area too, with knurled hash marks that act as anti-slip areas The blades at the bottom are very sharp and beveled, and have that familiar shiny, polished steel look You’ll use bevels and gradients to simulate them Hoops and hose These donut-like appendages give the RF-9 its futuristic, Mad Max look The top two hoops are meant for big, thick leather straps or a harness, while the hose beneath the gun vents power toward the muzzle’s resonating chamber at the exact moment the energy pellet enters it The top hoops are wrapped in dark leather, but are otherwise a dull, flat-colored metal The hose attaching the barrel to the muzzle is a dull steel mesh (I have a picture in my mind of that braided metal hose used in high-tech machinery) You might say that I’m going a little overboard with detailing the weapon This is a good idea, however, if you want to make your models look believable If you can provide a logical explanation of feature parts of an object, then envisioning their Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark ... with all these programs open, and bounce back and forth between them as you model, U-V, and texture Figure 11.4 The dynamic link and work structure between the U-V and texturing programs you’ll... techniques you’ll be employing Link 3D Studio Max, DeepUV, Deep Paint 3D, and Photoshop to create a fluent texturing operation Use Deep Paint 3D to assist your 3D texturing in conjunction with Photoshop... compared to the rest of the weapon, and therefore should exhibit more signs of heat exhaustion and wear and tear Barrel The barrel is the acceleration chamber for the charged energy pellet See