415_TextureArtist_X.pdf

ACKNOWLEDGEMENTS Advisory, Editorial & Creative Inputs Smt. Nidhi Chhibber (IAS), Chairperson, Central Board of Secondary Education, Delhi Guidance and Support: Dr. Biswajit Saha, Director (Skill Education), Central Board of Secondary Education, Delhi Dr. Joseph Emmanuel, Director (Academics), Central Board of Secondary Education, Delhi Shri. R. P. Singh, Joint Secretary (Skill Education), Central Board of Secondary Education, Delhi Coordinator: Smt. Niti Shanker Sharma, Deputy Secretary (Skill Education), Central Board of Secondary Education, Delhi Content and Design: Mr. Gaurav Birla, Head - Standards & QA, Media & Entertainment Skills Council, (MESC) Delhi. Mr. Ritik Kumar, Chief Designer, Ridosk Studios, India Units Page No. Unit 1: Surfaces and Materials......................... 9 Unit 2: Shading and Texturing.......................... 43 Unit 3: Texturing in Photoshop and Autodesk MAYA................................ 67 UNIT 1: SURFACES AND MATERIALS 1.1 MAIN MENU BAR OF 3D SOFTWARE (CHARACTER’S AND OBJECTS THAT ARE DEVELOPED ON 3D) Basics Maya is the premier application for creating compelling 3D digital content, in- cluding models, animation, visual effects, games, and simulations. The work you do in Maya generally falls into these categories: Creating models. Polygons, Non-Uniform Rational B-Splines (NURBS), and subdivision surfaces are different object types with different ways of modeling. Each has its own strengths, and different artists prefer working with different types. o Polygons let you model a surface by building up and reshaping a number of simple surface facets. o NURBS let you easily create smooth, curving surfaces with high-level control. o Subdivision surfaces let you edit surfaces at a high level with minimum overhead data, while still letting you work with subsections of the surface as if they were made from polygons. 9 Texturing Artist : Class – X Character rigging. Most animations involve “characters,” articulated models such as a person, an animal, robot, or anything else that moves by articulation. Maya lets you define internal skeletons for characters and bind skin to them to create realistic movement with deformation. Animation. Just about everything you can think of in Maya is keyable or able to be animated. Dynamics, fluids, and other simulated effects. Maya includes a compre hensive suite of tools for simulating real world effects such as fire, explosions, fluids, hair and fur, the physics of colliding objects, and more. Painting and paint effects. Maya includes an incredible system for using a graphics tablet (or the mouse) to paint 2D canvases, paint directly on 3D models, paint to create geometry, scriptable paint, and virtually limitless other possibilities. Lighting, Shading, and Rendering. When you want to render a still image or movie of your scene or animation, you can create them using your choice of renderers. Now that Maya is running, you first need to understand what you are seeing. There are a lot of items displayed in the Maya user interface. The best way to begin is to learn the fundamental tools and then learn addi- tional tools as you need them. Begin by learning some of the main tools. 10 Unit 1: Surfaces and Materials The Maya workspace The Maya workspace is where you conduct most of your work within Maya. The workspace is the central window where your objects and most editor panels appear. When you start Maya for the first time, the workspace displays by default in a perspective window, or panel. There are the other components of the default perspective view panel: The panel is labeled persp at the bottom to indicate that you are viewing the Maya scene from a perspective camera view. The panel has its own menu bar at the top left corner of the panel. These menus allow you to access tools and functions related to that specific panel. The grid is displayed with two heavy lines intersecting at the center of the Maya scene. This central location is called the origin. The origin is the center of Maya’s 3D world, and with all object’s directional values measured from this location. 11 Texturing Artist : Class – X In Maya, like many other 3D applications, the three dimensions are labeled as the X, Y, and Z axes. The origin is located at X, Y, Z position of 0, 0, 0. The grid also lies along the X, Z plane. We refer to this as a plane because you might visualize an imaginary, flat, two-dimensional square laying along this 3D position. Maya labels the X, Y, and Z axes with a color scheme: red for X, green for Y, and blue for Z. Many tools that you use in Maya use this color scheme to indicate that you are accessing a particular item that relates to X, Y, and Z in some way. The axis indicator shows in which direction, X, Y, or Z, you are viewing the Maya scene. The axis indicator is color coded in the red, green, and blue color scheme and appears in the lower left corner of a view panel. This is extremely useful if you are new to 3D, as many of the instructions in this manual and the Maya Help assume you know where you are viewing the scene in relation to the X, Y, Z axes. Main Menu bar Tools and items are accessible from pull down menus located at the top of the user interface. In Maya, menus are grouped into menu sets. These menu sets are accessible from the Main Menu bar. The Main Menu bar appears at the top 12 Unit 1: Surfaces and Materials of the Maya interface directly below the Maya title bar and displays the cho- sen menu set. Each menu set corresponds to a module within Maya: Anima- tion, Polygons, Surfaces, Rendering, and Dynamics. Modules are a method for grouping related features and tools. You switch between menu sets by choosing the appropriate module from the menu selector on the Status Line (located directly below the File and Edit menus). As you switch between menu sets, the right-hand portion of the menus change, but the left-hand portion remains the same; the left-hand menus are common menus to all menu sets. The left-hand menus contain File, Edit, Mod- ify, Create, Display, Window, and Assets. To select a specific menu set 1. On the Status line, select Animation from the drop-down menu. The Main Menu changes to display the menu set that relates to the Animation module. In particular, menu titles such as Animate, Deform, Skeleton, Skin, and so on, appear. 2. Using the menu selector, choose Polygons from the drop-down menu. The main menu changes to display the menu set for Polygons. Menu titles such as Select, Mesh, Edit Mesh, and so on, appear. For now, leave the menu set at Polygons. You will use this set in the next step. 13 Texturing Artist : Class – X To create a primitive 3D object from the Polygons menu set 1. Select Create > Polygon Primitives > Interactive Creation and ensure that a check mark does not appear beside this item. For this lesson, you won’t use this option. 2. From the Main Menu Bar, select Create > Polygon Primitives > Cube. Maya creates a 3D cube primitive object and places it at the center (origin) of the Maya workspace. Status Line The Status Line, located directly below the Main Menu bar, contains a variety of items, most of which are used while modeling or working with objects within Maya. Many of the Status Line items are represented by a graphical icon. The icons save space in the Maya interface and allow for quick access to tools used most often. In this lesson, you learn about some of the Status Line areas. 14 Unit 1: Surfaces and Materials You’ve already learned the first item on the Status line: the Menu Selector used to select between menu sets. The second group of circled icons relate to the scene and are used to create, open, and save your Maya scenes. The third and fourth group of buttons are used to control how you can select objects and components of objects. You will learn more about selection of ob- jects in later lessons. The fifth group of icons are used to control the Snap Mode for objects and components. You will begin to use these tools in a later lesson in this chapter. The last section comprise three buttons that are used to show or hide editors, including the Attribute Editor, Channel Box, Layer Editor, and Tool Settings. The default display shows the Channel Box and the Layer Editor. When you create an object, like the cube for example, information about that object displays in these editors. You will learn how to use these editors later in this chapter. For better organization on the Status Line, all of the icon buttons are broken into groups that you can ex- pand and collapse, as shown. Shelf The Shelf is located directly below the Status line. The Maya Shelf is useful for storing tools and items that you use frequently or have customized for your own use. You can keep the tools and items you use most frequently in a loca- tion that provides handy access. Maya has some of the Shelf items pre-con- figured for your use. 15 Texturing Artist : Class – X To create an object using a tool from the Shelf 1. From the Shelf, select the Surfaces tab in order to view the tools located on that shelf. 2. Select Create > NURBS Primitives > Interactive Creation to ensure that a check mark does not appear beside the item. For this lesson, you won’t use this option 3. From the Shelf, select the NURBS sphere icon located at the left end by clicking on it. Maya creates a sphere primitive object and places it at the center of the Maya workspace in the same position as the cube. TIP: You can determine if this is the correct tool prior to choosing it by first placing your mouse cursor over the icon, the name or description of it appears in a popup window directly over it. In your scene view the wireframe outline of the cube you created earlier in the lesson has changed color to navy blue, and the sphere is displayed in a bright green color. The sphere is now the selected object and the cube is no longer selected. In Maya, when the object displays like this, we refer to it as being se- lected or active. 16 Unit 1: Surfaces and Materials Selection of objects and components is a way of indicating to Maya that this particular item is to be affected by the tool or action you will subsequently choose. As you work with Maya, you will be selecting and deselecting items a lot. You will learn how to select and deselect objects later in this chapter. Some numerical information appears in the Channel Box editor on the right hand side of the user interface. This information relates to X, Y, and Z, transla- tion, rotation, and scaling for the active object. The X, Y, and Z Translate numer- ical values are currently set to 0. This indicates that the sphere’s location is at the origin. The Channel Box is useful for viewing and editing this type of basic information. You will use the Channel Boxlater in this chapter. 17 Texturing Artist : Class – X To hide or show the Channel Box 1. To hide the Channel Box, click the Show/Hide Channel Box icon from the right end of the Status line. The Channel Box disappears, and the perspective scene view expands slightly. With the Channel Box hidden, you have more working area in your scene view. 2. To show the Channel Box, click the Show/Hide Channel Box icon on the Status line. The Channel Box appears in the scene view. Texture Artists are responsible for the creation of textures, colours and organic surface qualities required for computer-generated creatures and hard-sur- face models used in production. Texture Artists work closely with Modelers and Look Development Artists to create photo-real assets for high end visual ef- fects films. 3D coordinates The most basic visual entity is the point. The point has no size, but it has a lo- cation. To determine the location of points, we first establish an arbitrary point in space as the origin. We can then say a point’s location is so many units left (or right) of the origin, so many units up (or down) from the origin, and so many units higher (or low- er) than the origin. These three numbers give us the 3D coordinates of the point in space. For ex- ample, a point 7 units right (x), 4 units down (z), and 3 units above (y) the origin has the XYZ coordinates (7,4,3). To specify points on the opposite side of the origin, we use negative numbers. In the example, a point at (-5, -2, -1) would be 5 units left of the origin, 2 units up, and 1 unit below. 18 Unit 1: Surfaces and Materials In computer graphics, we don’t really say the point is “left/right”, “up/down”, or “higher/lower”. Instead we call the three dimensions the X axis, the Z axis, and the Y axis. Y-up and Z-up In animation and visual effects, the tradition is to use Y as the “up” or elevation axis, with X and Z as the “ground” axes. However, some other industries tradi- tionally use Z as the up axis and X and Y as the ground axes. In Maya, you can switch the up axis between Y and Z. Select Windows > Settings/Preferences > Preferences, then click Settings in the left pane. For more information, see Settings preferences. Interface overview This section is a brief summary of the main Maya interface. Numbered head- ings below refer to the numbered interface elements in the figure. If you can’t find the menu you’re looking for, it may be that the correct menu set is not open - see Menus and menu sets. You can also choose Help > Find Menu and enter the name of menu or command you’re looking for. You can show or hide elements (panels) in the main window using the Windows > UI Elements menu. You can hide all the interface elements to maximize viewing space and instead use the quick command features: the hotbox, Maya Hotkeys, and Marking menus. You can resize most panels by dragging their edges when a double-headed arrow cursor appears. You can rearrange the panels to suit your preferences by docking them in different areas of the Maya window. For more information, see Dock and undock windows and panels. To zoom in on the view under the mouse pointer, such as the View Panel or Graph Editor, press Shift + Spacebar. This collapses all other panes 19 Texturing Artist : Class – X docked in the main window. If the mouse pointer is over a floating win dow or another part of the interface, such as the Channel Box or Tool Settings, it affects the last view you clicked in. Press Shift + Spacebar again to restore the previous viewing configuration. For a full-screen view of the pane with the focus, press Ctrl + Spacebar. This works the same way as Shift + Spacebar for zoom-in view, but it also hides UI elements such as the Status Line, Shelf, Time Slider, and so on. Press Ctrl + Spacebar again to restore the previous viewing configuration. 1. Menu Sets Menu sets divide the type of menus available into categories: Modeling, Rig- ging, Animation, FX, and Rendering. Maya’s first seven menus on the main menu are always available, and the remaining menus change depending on the menu set you choose. See Menus and menu sets for information. 2. Menus The menus contain both tools and actions for working in your scene. The main menu is that the top of the Maya window. There are also individual menus for the panels and option windows. You can also access the menus in the main menu in the hotbox, which you can open by holding down the space bar in a view panel. See Menus and menu sets for information. 3. Status Line The Status line contains icons for some commonly-used general commands, such asFile > Save, as well as icons for setting up object selection, snapping, rendering, and more. A quick Selection field is also available for you to set up for numeric input. Click the vertical dividers to expand and collapse groups of icons. 20 Unit 1: Surfaces and Materials 4. User Account menu Log in to your Autodesk account. Click for more options, such as to manage your license or purchase Autodesk products. Trial versions also show many days are left. 5. Shelf The Shelf contains icons for common tasks, organized by tabs based on cate- gory. The real power of shelves, however, is that you can create custom shelves, and then make tools or command shortcuts that are quickly accessed from there with a single click. See Shelves for information. 6. Workspace selector Select a custom or predefined arrangement of windows and panels designed for different workflows. Shown here is the Maya Classic workspace. For more information, see Workspaces. 7. Sidebar icons The icons at the right end of the Status line open and close tools that you will use frequently. From left to right, the icons display the Modeling Toolkit, the HumanIK window, the Attribute Editor, the Tool Settings, and the Channel Box/ Layer Editor(which is open by default and shown here). In the Maya Classic workspace, these tools open as tabs in the pane below, except for the Tool Settings which open in a floating window. Use the tabs to switch between open tools, or click the current tab to collapse the whole pane. Click on any tab in a collapsed pane to restore it. You can also drag the tabs to change their order, or right-click on the tabs for more options. 8. Channel Box The Channel Box lets you edit attributes and key values for selected objects. The Transform attributes are shown by default, but you can change which at- tributes are displayed here. 9. Layer Editor There are two types of layers that are displayed in the Layer Editor: Display Layers are used to organize and manage objects in a scene, such as for setting their visibility and selectability. Animation Layers are used to blend, lock, or mute multiple levels of animation. In all cases, there is a default layer where objects are initially placed upon cre- ation. 10. View panel The View panel offers different ways of viewing the objects in your scene with a camera view. You can show one or several view panels, depending on the 21 Texturing Artist : Class – X layout you’re using. You can also display different editors in the view panel. The Panel Toolbar in each view panel gives you access to many of the frequently used commands found in the Panel menus. 11. Tool Box The Tool Box contains tools that you use all the time to select and transform objects in your scene. Use the QWERTY hotkeys to use the Select tool ( Q), Move tool ( W), Rotate tool ( E), Scale tool ( R), and Show Manipulators ( T), as well as access the last tool used ( Y) in the scene. 12. Quick layout/Outliner buttons The upper three Quick Layout Buttons below the Tool Box let you switch be- tween useful View panel layouts with a single click, and the bottom button opens theOutliner. See Panels and layouts for information on how to create custom layouts. 13. Time Slider The Time Slider shows you the time range that is available as defined by the range slider, below. The time slider also displays the current time, and the keys on selected objects or characters. You can drag the red playback cursor in it to “scrub” through animation, or use the playback controls at the right end. 14. Range Slider The Range Slider lets you set the start and end time of the scene’s animation. You can also set a playback range if you want to focus on a smaller portion of the whole animation. 15. Playback controls The Playback Controls let you move around time and preview your animation as defined by the Time Slider range. 16. Anim/Character menus The Animation or Character menus let you switch the Animation Layer and the currentCharacter Set. There are also icons for Auto Key and Animation prefer- ences. 17. Playback options Use the Playback options to control how your scene play backs animation, in- cluding setting frame rates, looping controls, and auto keying, as well as gives you quick access to the Time Slider preferences. 18. Command Line The Command line has an area to the left for inputting single MEL commands, and an area to the right for feedback. Use these area if you are familiar with Maya’s MEL scripting language. 22 Unit 1: Surfaces and Materials 19. Help Line The Help Line gives a short description of tools and menu items as you scroll over them in the UI. This bar also prompts you with the steps required to use a tool or complete a workflow. Menus and menu sets There are seven menus always available in Maya: File, Edit, Create, Select, Mod- ify, Displayand Windows. All other menus change depending on the menu set you select: Modeling, Rig- ging, Animation, Dynamics, Rendering. Each menu set is designed to support a particular workflow. You select the menu set you want to work with from the drop-down list in the Status bar. To switch between menu sets, use the drop-down menu in the Status Line, or use hotkeys. The default hotkeys are: F2 (Modeling) F3 (Rigging) F4 (Animation) F5 (FX) F6 ( Rendering) You can create custom menu sets that contain your choice of menu items - see Custom menu sets. Note: To toggle the display of the menu bar, press Ctrl+M. With no menu bar visible, you can still use the Hotbox to choose commands. Tear-off menus You can display menus as separate windows. This is helpful when you use a menu repeatedly. Pull down the menu and click the tear-off line at the top. Tear-off menus always display on top. 23 Texturing Artist : Class – X Select menu items You can select items from menus in different ways in Maya: The main menu at the top of the Maya window - see Menus and menu sets. Shelves, where the most frequently used menu items are also available as icons; for example, common commands from the Rigging menu set are available as icons in the Rigging shelf - see Shelves. The hotbox - see Select actions from the hotbox Marking menus - see Marking menus Actions and Tools Almost all menu items are actions, but there are also many tools. When you select an action menu item, that action is performed on the selected objects or components. Some actions work differently depending on the order in which you select the objects. For example, you first select all the objects you want to constrain, and then select the constraining object last when you create a constraint. 24 Unit 1: Surfaces and Materials If the order is important, instructions about the selection order appear in the help line at the bottom of the Maya window. When you select a tool menu item, that tool is activated, which you can then use on objects or components. Instructions for using the tool appear on the help line when it’s active. The tool stays active until you exit it by selecting another tool. Many items in the Curves and Surfaces menus can be converted from actions to tools (or vice versa) - see Switch operations between actions and tools. Setting Options before selecting a menu item For many menu items, you can set up options before executing it. When op- tions are available, a box is displayed next to the name of a menu item. See Set or reset the options for a menu item for more information. Quickly repeating the last menu item You can quickly repeat your last action from a menu item in Maya’s main menu, or Panelmenu with the middle-mouse button. For example, if your last action was to open the Windows > Animation Editors > Graph Editor, then middle-click the Windows menu to reopen the Graph Editor. This also applies to sub-menus. Middle-click on Panel Menus toggles radio or checkbox selections, where available. Note: You cannot use the middle-click repeat with Panel > Renderer menu items. Set or reset options for a tool or menu item Many tools have options, shown in the menu as a box. This option box lets you adjust and finetune individual settings for each tool. Click the box next to the name of a menu item to open the action’s options window. Double-click a tool to show the Tool Settings panel. To reset a tool or action to its original (“factory”) options You can return menu items to their default settings by clicking Reset. Do one of the following: In an option window, select Edit > Reset settings. 25 Texturing Artist : Class – X In a Tool Settings editor, click Reset Tool. Select Actions from the Hotbox The hotbox contains every action available in the Maya interface. It appears when you hold down the space bar in a view. The hotbox has three main functions: It contains every menu and menu item. This is useful if you want to quickly use an action from another menu set without switching menu sets. 26 Unit 1: Surfaces and Materials You can use the hotbox to select actions even if you’ve hidden the menu bar (press Ctrl+M) and other UI elements to save space. The hotbox provides five customizable marking menus you can show by clicking inside, above, below, left, or right of the Hotbox Controls option. To select an action from the hotbox 1. Hold the space bar in a view to show the hotbox. The hotbox remains on screen as long as you hold the space bar. 2. Click a menu and drag while you select an option, or click an empty area anywhere around the hotbox to show additional marking menus. Tip: Clicking the tear-off line at the top of a marking menu opens it in a separate window. Marking Menus Marking menus are used throughout the Maya interface. When you right-click an object, a marking menu appears that lets you select a selection mode and other actions that are in context to the type of object. Some marking menus appear when you hold a key and press a mouse button. Marking menus are very fast for experienced users because once you get used to showing them and the positions of their items, you can select the items us- ing very quick gestures with the mouse or tablet pen, sometimes so fast the entire menu won’t even display. To select an item from a marking menu 1. Do one of the following: Right-click anywhere in your scene when an object is selected, and release the mouse button. The marking menu remains on the screen, letting you move your cursor over the item you want to select. Right-click anywhere in your scene when an object is selected and continue holding your mouse button and drag in the direction of the item you want to select. It doesn’t matter how far you drag or if you hit the item exactly. This allows you to make the drag very quickly. Dragging over an item with a submenu attached shows the submenu. 27 Texturing Artist : Class – X Note: You can assign marking menus to hotkeys. Hold the key and press the mouse button to show the marking menu. Polygon / NURBS marking menus Right-clicking a polygon or NURBS object in the scene brings up a marking menu of many commonly used commands. Menu Item Effect Components The upper radial section of each object type displays options to change the current component selection mode for that object. Note: Objects remain selected even when switching between various object and component modes. Shape node Allows you to display the appropriate object’s shape node without changing the current selection. Select Selects the current object. Select All Selects all objects in the scene. Deselect All Clears the current selection. Select Hierarchy Selects the current object and anything under it in the DAG. Invert Selection Selects anything currently unselected in the DAG and vice versa. Select Similar When in component mode, Select Similar selects po- lygonal components (vertices, edges, and faces) of a similar type to the current selection. When in object mode, this option selects other objects of the same node type in the scene. Make Live Turns the current object into a Live surface that other objects will then automatically snap to. 28 Unit 1: Surfaces and Materials DG Traversal Allows you to navigate up and down the DG into the current object’s History (upstream) and Fu- ture(downstream) without having to open the Node Editor. Menu Item Effect Inputs Allows you to select and edit any / all input (up- stream) connections to the current object’s shape node. Outputs Allows you to select and edit any / all output (downstream) connections to the current object’s shape node. Paint Provides quick access to multiple paint modes, including: Paint Select, 3D Paint, Sculpt Geometry, and Vertex Color painting (not available for NURBS curves). Metadata Allows you to visualize and modify metadata as- sociated with the current object. Actions Provides quick access to Templating, (controlling the object’s selectability), Unparenting (down to the root level), and Bounding Box display actions. UV Sets Provides quick access to options related to an ob- ject’s (possibly) multiple UV sets (polygons only). Color Sets Provides quick access to options related to an object’s (possibly) multiple color sets (polygons only). Scene Assembly Provides quick access to various options relat- ed to Scene Assembly for creating large complex scenes. Material Attributes Opens the current object’s shader node in the At- tribute Editor. Assign New Material Opens the Assign New Material window. Assign Favorite Material Allows you to assign commonly used shaders based on your Favorite list in the Hypershade. to the current object. Assign Existing Material Allows you to assign the current object any shader that already exists in the scene. 29 Texturing Artist : Class – X Remove Material Over- Removes any material overrides created on a ren- ride der layer, reverting back to the master layer’s ma- terial shader. Convert Selection marking menus Ctrl + right-clicking an object provides a menu of selection conversion com- mands that mirror those found in the Select > Convert Selection menu as well as Contiguous Edges. The available options differ depending on the current object type. Create Polygon marking menus Shift + right-clicking the scene without a selection provides a menu of polygon primitives and creation tools. Polygon Tools marking menus Shift + right-clicking with a polygon object selected brings up a marking menu of many commonly used polygon tools. Menu Item Effect Target Weld Tool Activates the Target Weld Tool, which allows you to merge vertices or edges interactively. Sculpt Tool Activates the Sculpt Tool, which moves vertices in a direction determined by the average of all nor- mals within the boundary of the tool cursor. Fill Holes Fills all holes in the geometry with new faces. Multi-Cut Activates the Multi-Cut Tool, which allows you to divide edges and faces by inserting new vertices / edges. Insert Edge Loop Activates the Insert Edge Loop, which allows you to create new edge loop perpendicular to the ex- isting edges. Append to Polygon Tool Activates the Append to Polygon Tool, which al- lows you to add polygons to an existing mesh. Soften/Harden Edge Manipulates vertex normals to make all edges appear soft or hard. Extrude Extrudes the selected components. 30 Unit 1: Surfaces and Materials Offset Edge Loop Tool Activates the Offset Edge Loop Tool, which allows you to insert Menu Item Effect new edge loops on either side of selected edges. Smooth Smooths the current mesh by adding new polygons. Subdiv Proxy Smooths the current mesh by adding polygons and placing it inside the original, non smoothed mesh, which becomes the proxy. Crease Tool Activates the Crease Tool, which allows you to create transitions between hard and soft edges. Project Curve on mesh Creates a new curve that is the projection of a se- lected curve on the selected mesh surface. Split mesh with projected Splits or splits and detaches edges on a poly- curve gon surface using a projection from the selected curve. Mirror Provides the options found in the Mesh > Mirror menu, to mirror the selected mesh across an axis. Mapping Provides options to apply a default UV map to the selected faces. Triangulate Faces Converts the selected faces to triangles to ensure proper rendering. Quadrangulate Faces Converts the selected faces to quads to ensure proper rendering. Separate Separates the selected polygon into the individu- al polygon shells (if any exist) that make it up. Combine Combines the selected polygon shells into a sin- gle object. Booleans Provides the options found in the Mesh > Bool- eansmenu, to model based on the intersection points of two meshes. Reduce Retopologizes the selected object in an attempt to reduce the overall number of polygons. Cleanup Opens the Cleanup Options , which allow you to remove unwanted geometry or tesselate faces that may be valid in Maya 31 Texturing Artist : Class – X Menu Item Effect but not elsewhere. Connect Tool Activates the Connect Tool allowing you to connect components by inserting edges between them. Quad Draw Tool Activates the Quad Draw Tool, which allows you to draw new polygons by placing dots in the scene. Polygon Display Allows you to toggle various display settings based on the component type currently selected. UV marking menus Shift + right-clicking a polygon object while in UV selection mode brings up a marking menu of many commonly used UV tools. Menu Item Effect Mapping Allows you to project new UVs onto the mesh. 3D Cut and Sew UV Tool Allows you to create or merge UV shell seams di- rectly in the viewport. 3D Grab UV Tool Allows you to drag UVs directly in the viewport. Cut UVs Separates the selected UV edges. Sew UVs Attaches the selected UV edges. Delete UVs Removes the selected UVs. Create UV Shell Creates a UV shell(s) out of each set of adjacent selected UVs. Merge UVs Merges the selected UVs (assuming they belong to the same UV shell). Auto Seams Automatically cuts seams into the shell pertain- ing to the selected Menu Item Effect UVs. Texture Borders Displays texture borders in the viewport. UV Editor Opens the 2D UV Editor. UV Set Editor Opens the UV Set Editor. 32 Unit 1: Surfaces and Materials UV Shell marking menus Shift + right-clicking a polygon object while in UV Shell selection mode brings up a marking menu of many commonly used UV shell tools. Menu Item Effect Mapping Allows you to project new UVs onto the mesh. 3D Cut and Sew UV Tool Allows you to create or merge UV shell seams di- rectly in the viewport. 3D Grab UV Tool Allows you to drag UVs directly in the viewport. Unfold Unfolds the object’s UV shell. Optimize Evens out the space between UVs. Layout Spreads out an object’s UV shells to make the best use of 0-1 UV space. Flip Changes the orientation of the UV shell. Useful if a texture appears backwards. Auto Seams Automatically assigns / cuts seams into the UV shell. Texture Borders Displays texture borders in the viewport. UV Editor Opens the 2D UV Editor. UV Set Editor Opens the UV Set Editor. NURBS curves marking menus Shift + right-clicking a NURBS curve brings up a marking menu of many com- monly used NURBS commands. Menu Item Effect Add Points Tool Activates the Add Points Tool, which allows you to extend certain types of curves (such as CV, EP, and Pencil)q. Open / Close Curves Separates or connects the first and last points of the selected curves. Reverse Curve Reverses the curve direction by renumbering the points. Convert NURBS to Bezier Converts the selected NURBS curve to a Bezier curve. Bezier Curve Tool Activates the Bezier Curve Tool, allowing you to modify or extend the selected Bezier curve. 33 Texturing Artist : Class – X Transform marking menus Ctrl + Shift + right-clicking your scene when different transformation tools are active, or holding the shortcut key for that tool and left-clicking the scene, opens a marking menu full of various settings related to that particular trans- formation tool. Common Transform marking menus The following marking menus are common to the Select Tool, Move Tool, Ro- tate Tool, and Scale Tool. Menu Item Effect Selection Constraints Lets you select components based on a specific type of constraint (i.e. edge loops only or border edges only). Transform Constraints Lets you select a transform constraint. Smart Duplicate Lets you Shift + drag to create duplicates. Smart Extrude Lets you shift + drag to extrude components. Preserve UVs Maya automatically transforms UVs in the UV space relative to the transformations taking place in the scene view (not available for Select Tool). Preserve Children Maintains the position of child objects when you move a parent object (not available for Select Tool). Tweak Mode Turns Tweak Mode on and off (not available for Select Tool). Symmetry Menu Item Effect Symmetry Turns Object symmetry on. Topology q/ World / Object Sets the symmetry space. X Axis / Y Axis / Z Axis Lets you choose whether to reflect your selec- tion along the X-axis, Y-axis or Z-axis. Select Menu Item Effect Marquee Turns Marquee select on and off. 34 Unit 1: Surfaces and Materials Pre-selection Highlight Turns Preselection Highlight on and off. Highlight Nearest Compo- When enabled and Maya is in component nent mode, automatically highlights the compo- nent (according to the active component se- lection setting) closest to the mouse cursor for selection. Highlight Backfaces When enabled, backfacing components are highlighted for preselection and are select- able. When this option is disabled, backfacing components are still selectable, but they are not highlighted for preselection. Asset Centric Turns Asset Centric selection on and off. Soft Select Opens the Soft Select marking menu. Camera Based Selection Turns on Camera Based Selection. Clear Selection Deselects all selected components. Soft Select Menu Item Effect Soft Select Turns Soft Selection on and off. Object / Global / Surface /Volume Sets the Falloff Mode for Soft Selection. Color Feedback Turns color feedback for Soft Selection on and off. Select Tool marking menus The following marking menus give you access to options associated with the Select Tool. You can also access these marking menus by holding Q + clicking in your scene. Menu Item Effect Paint Select Changes the selection mode to Paint Select. Lasso Changes the selection mode to Lasso Select. Move Tool marking menus Holding W + clicking in your scene opens a marking menu of options associat- ed with the Move Tool. Most of the options can also be found in the Move Tool Settings. 35 Texturing Artist : Class – X Menu Item Effect Axis / World / Object / Component Sets the Move Axis (coordinate system) for the Move Tool. Keep Spacing Maintains relative spacing when snap settings are on. Update Triad Determines whether the manipulator is updated during manipulation or when the mouse button is released, when moving components along their nor- mals. Move Options Opens the Tool Settings. Axis Menu Item Effect Live Object Sets the Axis Orientation for the Move Axis / Normal / Parent / Along Tool. Rotation Axis Custom Sets the Axis Orientation to a Custom axis orientation based on a specified point, edge, or face. Snap Menu Item Effect Discrete Move Lets you move components by specified increments. You can modify the increments in the Tool Settingse- ditor. Face Center / Vertex Lets you move and snap to a live polygon’s compo- nents. Both can be turned on simultaneously. Relative Mode Lets you move components relative to their initial ori- entation or scale. Rotate Tool marking menus Holding E + clicking in your scene opens a marking menu of options associ- ated with the Rotate Tool. Most of the options can also be found in the Rotate Tool Settings. 36 Unit 1: Surfaces and Materials Menu Item Effect Object / World/Component / Sets the Axis Orientation for the Rotate Tool. Gimbal / Custom Custom Sets the Axis Orientation to a Custom axis ori- entation based on a specified point, edge, or face. Rotate Object Center Lets you rotate object components around the object’s pivot point. Free Rotate When on, dragging the area inside the rota- tion manipulators (the center) rotates the ob- ject or component. Relative Lets you rotate or scale components relative to their initial orientation or scale. Rotate Options Opens the Tool Settings. Scale Tool marking menus Holding R + clicking in your scene opens a marking menu of options associat- ed with the Scale Tool. Most of the options can also be found in the Scale Tool Settings. Menu Item Effect Axis / World /Object/Component Sets the Axis Orientation for the Scale Tool. Snap Scale Lets you scale components by specified increments. You can modify the increments in the Tool Settingseditor. Relative Lets you rotate or scale components rela- tive to their initial orientation or scale. Scale Object Center Lets you scale object components around the object’s pivot point. Prevent Negative Scale Stops all single axis scaling operations on components at 0. Scale Tool Settings Opens the Tool Settings. 37 Texturing Artist : Class – X Axis Menu Item Effect Live Object Sets the Axis Orientation for the Scale Tool. Axis / Normal / Parent / Along Rotation Axis Custom Sets the Axis Orientation to a Custom axis ori- entation based on a specified point, edge, or face. Input / Output marking menus Holding A + clicking in your scene opens a marking menu of options related to incoming and outgoing connections to the currently selected objects. Menu Item Effect Enable All Outputs / Disable Enables / Disables all outgoing values from All Outputs the selected node. Delete History / Delete Non- Clears the appropriate type of construction Deformer History history. Select All Inputs / Select All Selects incoming / outgoing connections to Outputs the selected node. Freeze Transformations Resets the selected object’s current transfor- mations to zero. Component Marking Menus Shift + right-clicking your scene when in component selection mode opens a marking menu specific to the type of component (vertices, edges, or faces) currently being selected. Common Component marking menus The following marking menus are common to the Vertex, Edge, and Face com- ponent modes. Menu Item Effect Merge Provides options for merging multiple selections of the same component into one. Paint Select Activates Paint Selection mode for the current component type. 38 Unit 1: Surfaces and Materials Multi Cut Activates the Multi-Cut Tool, which allows you to divide edges and faces by inserting new vertices / edges. Delete Deletes the selected component (vertices and edges only). Normals Presents a number of options to modify the select- ed components normals (vertices and faces only). Extrude Extrudes the selected components. Crease Tool Activates the Crease Tool, which allows you to cre- ate transitions between hard and soft edges (ver- tices and edges only). Connect Components Connects the selected vertices, edges, or faces (in the form of their border edges) to the last selected vertex or edge. Detach Components Separates components into multiple overlapping components. Transform Component Activates a Manipulator Tool based on the last se- lected component. Connect Tool Activates the Connect Tool allowing you to con- nect components by inserting edges between them. Polygon Display Allows you to toggle various display settings based on the component type currently selected. Vertex marking menus Shift + right-clicking the scene in Vertex component mode opens a marking menu of vertex tools and options. Menu Item Effect Average Vertices Averages the distance between the selected vertices. Chamfer Vertex Chamfers the selected vertices. Apply Color Assigns color data to the selected vertices. Edge marking menus Shift + right-clicking the scene in Edge component mode opens a marking menu of edge tools and options. 39 Texturing Artist : Class – X Menu Item Effect Flip/Spin Edge Flips or spins edges to opposite cor- ners of a face. Bevel Edge Expands the selected edge into a new face based on the current Bevel Op- tions. Soften/Harden Edge Manipulates vertex normals to make connected edges appear soft or hard. Offset Edge Loop Tool Activates the Offset Edge Loop Tool, which allows you to insert new edge loops on either side of selected edg- es. Insert Edge Loop Activates the Insert Edge Loop, which allows you to create new edge loop perpendicular to the existing edges. Slide Edge Tool Lets you reposition a selection of edg- es or entire edge loops on a polygon mesh. Edit Edge Flow Adjusts the position of the selected edges to fit the curvature of the sur- rounding mesh. Add Divisions To Edge Allows you to split an edge using mul- tiple vertices. Bridge Creates faces connecting the select- ed border edges. Fill Hole Automatically creates a three or more sided face to fill an open area bordered by the selected edge. Face marking menus Shift + right-clicking the scene in Face component mode opens a marking menu of face tools and options. Menu Item Effect Poke Face Creates a vertex at the center of the selected face(s) and adds vertices to properly triangulate them. 40 Unit 1: Surfaces and Materials Bevel Face Expands the selected face’s edges into a new faces based on the current Bevel Options. Wedge Face Extrudes an arc out of the selected face until it is within a certain Arc angle of the selected edge. Smooth Faces Adds new polygons to smooth out vertices and edges bordering the selected faces. Assign Invisible Faces Removes all shading from the selected faces (but does not remove the face itself). Add Divisions To Faces Subdivides selected faces into additional faces. Triangulate Faces Converts the selected faces to triangles to ensure proper rendering. Quadrangulate Faces Converts the selected faces to quads to ensure proper rendering. Reduce Faces Retopologizes the selected faces in an attempt to reduce the overall number of polygons. Bridge Faces Creates faces connected the selected faces’ oppo- site border edges. Extract Faces Disconnects the selected faces from the mesh. Duplicate Face Creates a copy of the selected faces. Target Weld Activates the Target Weld Tool, which allows you to merge vertices or edges interactively. Mapping Provides options to apply a default UV map to the selected faces. Texturing artist: Roles and Responsibilities Texturing artist in the Media & Entertainment Industry is also known as a Shad- ing artist Brief Job Description Individuals at this job are responsible to add textures to models to create pho- to-realistic models that can be used for animation Responsibilities: Collaborate with the CG Supervisor and Lead Texture Artist to execute the required look of CG characters and objects 41 Texturing Artist : Class – X Continual and efficient communication with the Look Dev and Modelling departments Quality control of texture maps prior to publishing to ensure consistency Meeting schedules and set deadlines while maintaining the highest standards Communicating with Production and Leads regarding schedules and deadlines Sharing techniques, reference material and ideas with the team Continuing to become familiar with new tools, software, data and other related technology Essential Skills: The ability to work within a team of other Texture Artists or independently A commitment to creative collaboration within the team and with other departments Proactive and excellent communication, organisation and interpersonal skills Creative problem solving skills The proven ability to work well under pressure Open to direction and able to embrace change Attention to detail Reliable with good time keeping and the ability to meet set deadlines 42 UNIT 2: SHADING AND TEXTURING SURFACE SHADING In the real world, what an object is made of is one of two main factors that de- termine the appearance of its surface (the other is light). This is because when light hits the objects, some of the light is absorbed and some of it is reflect- ed. The smoother the object, the shinier it is; the rougher the object, the more matte it is. In Autodesk®Maya®, the appearance of a surface is defined by how it’s shaded. Surface shading is a combination of the basic material of an object and any textures that are applied to it. In Maya, materials (also called shaders) define an object’s substance. Some of the most basic attributes of materials include color, transparency, and shine. For more information on materials in Maya, see Surface, displacement, volu- metric materials. Factors beyond basic color, transparency, and shine that determine the ap- 43 Texturing Artist : Class – X pearance of an object’s surface (such as more complex color, transparen- cy, shine, surface relief, reflection, or atmosphere) are defined by textures. For more information on textures, see 2D and 3D textures, Procedural textures, and File textures. About backgrounds Typically you render the objects in a scene against a black background and composite the rendered images later with an appropriate background using compositing software. However, you can insert a background: to avoid having to model background objects or scenery, but want them represented, 2Dly, in your scene (especially if you don’t have access to compositing software). as a temporary reference (especially for rotoscoping or motion matching) for modeling or animating objects in the scene. Basic color and texture backgrounds Color backgrounds A color background floods the background of the scene with a solid color (for example, black, white, or red). Create a basic color background To create a color background 1. In the Environment section of the camera’s Attribute Editor (View > Camera Attribute Editor), set the Background Color attribute. For more information on a camera’s Attribute Editor, see Attribute Editor in the Basics guide. 44 Unit 2: Shading and Texturing Texture backgrounds A texture background uses a 2D, 3D, or environment texture on an image plane to simulate a 3D background, or environment. Create a texture background To create a texture background 1. In the Environment section of the camera’s Attribute Editor (View > Camera Attribute Editor), click the Create button to the right of the Image Plane attribute. Maya creates an image plane and connects it to the camera. 2. Set the Type attribute for the image plane to Texture. 3. Click the texture button for the Texture attribute. The Create Render Node window appears. 4. Select the texture you want to use as a background (for example, an Environment Texture). Maya creates the texture and connects it to the image plane. Create, edit, or position an image plane To create an image plane 1. Select View > Image Plane > Import Image from the current view. 2. Browse to the file you want and click Open. A placement icon appears in either the current view or all views, depending on the Display mode you set (in all views by default), and the Image Plane Attribute Editor opens. 3. Select an Image File or Texture from the Type drop-down list, then click the folder icon next to Image Name to load an image plane into the view. For a description of image plane attributes, see Image plane 45 Texturing Artist : Class – X To edit an existing image plane 1. Select View > Image Plane > Image Plane Attributes from the current view and choose any of the camera’s image planes you want to edit. The selected image plane’s attributes display in the Attribute Editor (unless the Attribute Editor has been hidden) Tip Right-click the arrow key of the image plane attribute in the camera to display a list of the image planes per camera. To position an image plane 1. Do one of the following: Use the Placement attributes to position an image plane relative to the camera. Use the Placement Extras attributes to control which portion of an image file is visible on the image plane. Apply color and shading to an object After you have created your model, you can add color and shading to it by doing the following: Create a material and assign it to your object Set a color for the object Map a texture to any of the material attributes Adjust the material attributes; for example, its specularity, transparency, and so forth Create a material and assign it to your object Right-click your object in the viewport and select Assign New Material. Select any of the available shaders from the editor that appears. In this example, a Phong shader is created and assigned to the body of the dinosaur model. Set a color for the object You can set a color for your object by clicking the Color value swatch to edit the color using the Color Chooser. 46 Unit 2: Shading and Texturing Alternatively, you can map a texture to the Color attribute of your material, as demonstrated in the Map a texture to any of the material attributes section below. Map a texture to any of the material attributes You can map a texture to any of the material attributes that appear with a icon beside it. For example, you can add color to your model by mapping a file texture to the material’s Color attribute, or add surface detail by mapping a normal map to the Bump Mappingattribute to give the appearance of a rough surface. 1. Click the icon beside the Color attribute and select File. A File texture node is created. Click the browse icon beside Image Name to navigate to your texture file. Press 6 for textured mode in the viewport to see the texture applied to the dinosaur. 2. Similarly, click the icon beside the Bump Mapping attribute and select File. Select the file node in the Attribute Editor and click the browse icon to navigate to your normal map. 3. Display your normal map in tangent space or object space. In this example, the bump on the model’s body is not very realistic. To correct this, select the bump2d node, then select Use As > Tangent Space Normals. Note: A icon indicates that a texture has been mapped to an attribute. Adjust the material attributes You can further refine the shading of your model by adjusting any other ma- terial attribute. For example: Increase the size of the specular highlights by adjusting the Cosine 47 Texturing Artist : Class – X Power attribute Give the dinosaur a metallic, shiny skin by changing the Specular Color to a lighter grey The attributes that you can adjust depend on the shader that you have as- signed to the material. Different attributes are available for the Blinn shader, for example, as compared to the Lambert shader. Create layered shaders You can layer shaders when you want to use more than one material for an object. Layered shaders let you create the appearance of variations in the material qualities of the surface by combining two or more material nodes that each have their own qualities. Layered shaders render more slowly than other materials, so consider using Layered textures instead to achieve similar results. Layered textures with the Layered Shader node The Layered Shader node has an attribute called compositing flag that causes the shader type to layer materials or layer textures. You can use this to layer textures with the Layered Shader node. However, using the Layered Texture node is recommended because you can set many more options. See Layered textures for more information. If you choose the texture option for the compositing flag, you must plug the whole network into a material (for example, Phong or Blinn). For a description of this flag and other attributes of the node, see the Layered Shader node reference. To create a layered shader (example) 1. Create a Layered Shader in the Hypershade. 2. Select the Layered Shader node and open the Attribute Editor. 3. Create a Lambert shader and drag to the area with the green swatch in the Attribute Editor. 4. Create a Phong and do the same. The leftmost shader is the topmost material. You’ll have to have some level of transparency to see the shader underneath. So, for this example, 48 Unit 2: Shading and Texturing you’ll need to map the Lambert’s transparency channel with something to see the shiny Phong underneath. Then assign the shader to an object. Textures In visual arts, a texture is any kind of surface detail, both visual and tactile. In Maya, you create surface detail with textures connected to the material of ob- jects as texture maps. Materials define the basic substance of an object, and textures add detail. You can connect textures to almost any attribute of a material; the most com- mon ones being color, transparency and shine (specularity). For more infor- mation on material attributes, see Common surface material attributes and Common surface material Specular Shading attributes. In addition, you can also add detail to the appearance of an object’s surface by adding Surface relief. Do this by connecting textures as bump maps or dis- placement maps. A set of 2D and 3D textures are provided in Maya. In addition, you can create a Filetexture and connect to it your own image file. 2D and 3D textures Texture nodes are one type of render node that, when mapped to the material of an object, let you define how the surface of an object looks when rendered. Texture node(s) (with material nodes) feed into the Shading Group node, which tells the renderer how to shade the surface. Texture nodes are procedural textures generated by Maya or bitmap images imported into Maya that you can use as texture maps for material attributes. Texture maps on various attributes such as color, bump, and specularity affect the appearance of the material. For more information about texture maps, 2D textures 2D textures wrap around an object, like gift wrapping, or stick to a flat surface, like wallpaper. 49 Texturing Artist : Class – X 3D textures 3D textures project through objects, like veins in marble or wood. With a 3D texture, objects appear to be carved out of a substance, such as rock or wood. You can scale, rotate and move 3D textures interactively in a scene view to achieve the desired results. Environment textures Environment textures are commonly used either as backgrounds for objects in your scene or as reflection maps. Layered textures There are two ways to layer textures in Maya: using the Layered Shader with the texture compositing flag, or with the Layered Texture Node. Though the workflow for using the Layered Texture node is similar to the Lay- ered Shader, using the Layered Texture node is recommended because you can set many blend modes. Overview of texture nodes Shared 2D texture attributes For texture-specific attributes, see the 2D texture name: Bulge, Checker, Cloth, File, Fluid Texture 2D, Fractal, Grid, Mountain, Movie,Noise, Ocean, Ramp, Water. 50 Unit 2: Shading and Texturing Color Balance Corrects the color or intensity of a texture. Exposure Adjusts the brightness of the image. The modified colors are used for render- ing, as well as for display in Viewport 2.0. Note: Exposure is available only for File texture nodes. Default Color If you map a texture to a material in such a way that it that does not cover the entire surface, the file node’s Default Color shows through. To select a different color, click the color bar to open the Color Chooser. To change the texture’s coverage, use the placement options. Color Gain Scaling factor applied to the texture’s outColor channel. For example, you can color-correct a texture that appears too green by setting the Color Gain to a shade of blue. The default color is white (no effect). Color Offset Offset factor applied to the texture’s outColor channel. For example, you can brighten a texture that appears too dark by setting the Color Offset to a shade of gray. The default color is black (no effect). Alpha Gain Only has an effect if the texture is used as a bump or displacement. Scaling factor applied to the texture’s outAlpha channel. The default value is 1 (no ef- fect). Alpha Offset Only has an effect if the texture is used as a bump or displacement. Offset factor applied to the texture’s outAlpha channel. For example, if the Alpha Gain value is -1 and the Alpha Offset value is 1, the outAlpha channel is inverted. The default value is 0 (no effect). Alpha Is Luminance Off by default. The alpha (mask) output depends on the luminance of the color channels. Bright areas of the texture are more opaque when compositing, and dark areas are more transparent. Note: You cannot use Alpha Is Luminance for Cloth, Ramp, or Stencil textures. Shared 3D texture attributes Color Balance 51 Texturing Artist : Class – X Corrects the color or intensity of a texture. Default Color If you map a texture to a material in such a way that it that does not cover the entire surface, the file node’s Default Color shows through. To select a different color, click the color bar to open the Color Chooser. To change the texture’s coverage, use the placement options. Color Gain Scaling factor applied to the texture’s outColor channel. For example, you can color-correct a texture that appears too green by setting the Color Gain to a shade of blue.The default color is white (no effect). Color Offset Offset factor applied to the texture’s out Color channel. For example, you can brighten a texture that appears too dark by setting the Color Offset to a shade of grey. The default color is black (no effect). Alpha Gain Only has an effect if the texture is used as a bump or displacement. Scaling factor applied to the texture’s out Alpha channel. The default value is 1 (no ef- fect). Alpha Offset Only has an effect if the texture is used as a bump or displacement. Offset fac- tor applied to the texture’s out Alpha channel. For example, if the Alpha Gain value is -1 and the Alpha Offset value is 1, the out Alpha channel is inverted. The default value is 0 (no effect). Alpha Is Luminance Off by default. The alpha (mask) output depends on the luminance of the color channels. Bright areas of the texture are more opaque when compositing, and dark areas are more transparent. Note: You cannot use Alpha Is Luminance for Cloth, Ramp, or Stencil textures. Effects Filter Filter attributes scale the size of the filter and let you specify the amount of blur in the texture map. Use it as an anti-aliasing technique used to refine file tex- tures, reduce flickering, or to achieve special effects. By default, Filter is set to a value of 1.0 to help prevent such aliasing effects. The effect of Filter is related directly to eye space. As the object moves further away from the eye, the more the texture blurs. 52 Unit 2: Shading and Texturing Filter Offset Controls the texture blur in texture space (not eye space). Use Filter Offset for a blurred effect instead of anti-aliasing. Maya adds a constant value to the Filter setting. The default value is 0. Increasing the value increases the texture blur. For example, 1.00 completely blurs the texture. Tip: A Filter and Filter Offset of 0.00 results in no blur effect, but a small amount of blur can help reduce moiré and aliasing effects in texture maps. Invert Reverses all texture colors (black becomes white, white becomes black, and so on). Invert is off by default. For example, you can change a bump or displace- ment map’s raised regions to depressions and vice versa by setting Invert on or off. Local, Wrap Wrap repeats or tiles the texture completely over the object. If off, everything outside the 3D placement cube displays the texture’s default color. Wrap is on by default. Tip: Some nodes, such as the Reverse utility, repeat themselves to achieve the ef- fect of Wrap, so that it extends infinitely. Others, such as a Marble texture, ex- tend outwards without repeating. To adjust texture placement on all objects at once, turn Local on, transform the texture placement icon, then turn Local off to see the results. Turning on Local also means that if you transform any of the objects during an animation, the 3D texture transforms accordingly. Blend Controls how much of the texture’s Default Color is mixed into the texture Color. A value of 0 means the Default Color does not affect the texture Color. As you increase the Blend value, more and more of the Default Color mixes in. This at- tribute does not work unless Wrap is turned off and Local is turned on. To blend colors and textures using the Blend slider 1. Change the Default Color (in the Color Balance section of the texture’s Attribute Editor), or map another texture to the Default Color. 53 Texturing Artist : Class – X 2. Make sure Invert and Wrap are off and turn Local on. 3. Drag the slider to change the Blend value. Color Remap Applies a color map to the texture and lets you add or subtract colors from a texture’s default settings. Maya maps the U value to the original texture’s hue, and the V value to the original texture’s intensity. To remap a texture 1. Click the Insert button under the Color Remap section. The texture colors change and a Remap Ramp Attribute Editor appears. Adjust the Ramp texture colors and attributes if necessary. UVs UVs (pronounced U-VEEZ) are two-dimensional texture coordinates that re- side with the vertex component information for polygonal and subdivision sur- face meshes. UVs exist to define a two-dimensional texture coordinate system, called UV texture space. UV texture space uses the letters U and V to indicate the axes in 2D. UV texture space facilitates the placement of image texture maps on a 3D surface. UVs are essential in that they provide the connection between the surface mesh and how the image texture gets mapped onto the surface mesh. That is, UVs act as marker points that control which points (pixels) on the texture map correspond to which points (vertices) on the mesh. Textures applied to poly- gon or subdivision surfaces that do not possess UV texture coordinates will not render. Although Maya creates UVs by default for many primitive types, you’ll need to rearrange the UVs in most cases, because the default arrangement will usu- ally not match any subsequent edits to the model you may make. In addition, the location of the UV texture coordinates do not automatically update when you edit a surface mesh. In most cases, you map and arrange UVs after you have completed your mod- eling, but before you assign textures to the model. Otherwise, changing the model will create a mismatch between the model and the UVs, and affect how any textures appear on the model. Understanding the concept of UVs and how to map them to a surface, and subsequently lay them out accurately is essential for producing textures on polygonal and subdivision surfaces when working in Maya. This is also import- 54 Unit 2: Shading and Texturing ant when you need to paint textures, fur, or hair onto a 3D model. Note: For NURBS surface types the texture coordinates (UVs) that control the placement of a texture exist by default and are implicitly connected to the control vertices. When the control vertices get repositioned, so do the positions of the corresponding UV texture coordinates. Any textures mapped to the sur- face will adjust automatically. Texture mapping To apply a texture to an object, you map the texture to an attribute on the object’s material. (Textures and materials are render nodes. The attributes to which the texture is connected determines how the texture is used and how it affects the final results. Maya has a number of textures that you can map onto objects. For example, if you connect Maya’s 2D black and white Checker texture to the color attribute of an object’s material, you have applied a color map; the checkered pattern determines which parts of the object appear black and which appear white (or other colors if you adjust the texture’s color attributes). If you connect the black and white Checker texture to the transparency at- tribute, you have applied a transparency map; the checkered pattern deter- mines which parts of the object are opaque and which are transparent. Commonly used texture maps To map a texture, see Map 2D or 3D texture. 55 Texturing Artist : Class – X Color maps By mapping a texture to the Color attribute of an object’s material, you create a color map which describes the color of the object. To learn more about how you can work with color, see Common surface ma- terial attributes. Transparency maps By mapping a texture to the Transparency attribute of an object’s material, you create a transparency map which lets you make parts of an object opaque, semi-transparent, or entirely transparent. To learn more about how you can work with transparency, see Common sur- face material attributes. Specular maps By mapping a texture to the Specular attribute of an object’s material, you create a specular map which lets you describe how shine appears on objects (by controlling highlight). To learn more about how you can work with highlight, see Common surface material Specular Shading attributes. Reflection maps By mapping a texture to the Reflected Color attribute of an object’s material, you create a reflection map which lets you describe how an object reflects its surroundings. Bump maps By mapping a texture to the Bump attribute of an object’s material, you create a bump map which lets you add the illusion of surface bump detail to a sur- face. Displacement maps Displacement maps let you add true dimension to a surface at render time, a process which may reduce or eliminate the need for you to create complex models. UV mapping The process of creating explicit UVs for a surface mesh is called UV mapping. UV mapping is a process whereby you create, edit, and otherwise arrange the UVs (that appear as a flattened, twodimensional representation of the surface mesh, over top of the two-dimensional image to be used as a texture as it ap- pears in the UV Texture Editor. 56 Unit 2: Shading and Texturing The UV mapping process results in a correlation between the image and how it appears as a texture when mapped onto the three-dimensional surface mesh. UV mapping is a critical skill to master for accurate and realistic textures on polygonal surfaces. You create UVs by mapping them onto your surface mesh. For more in formation see Mapping UVs. You view and edit UVs using the UV Texture Editor. You can display the texture image as a background image to let you more easily correlate the UVs to the texture. You use the tools in the UV Texture Editor to lay out and manipulate the 2D representation of UVs. For more information see Editing UVs. Creating UVs In Maya, UV texture coordinates (UVs) can be created for polygon surface meshes using the following UV mapping techniques: Automatic UV mapping Planar UV mapping Cylindrical UV mapping Spherical UV mapping User-defined UV mapping Best Plane mapping Camera UV mapping - see Planar UV mapping Each UV mapping technique produces UV texture coordinates for the surface mesh by projecting them onto the surface mesh based on its inherent projec- tion method. However, the initial mapping produced via the above UV map- 57 Texturing Artist : Class – X ping techniques does not usually produce the final UV arrangement that is required for a texture. As a result, you will often need to perform further editing operations on the UVs using the UV Editor. It is best to map UVs onto a model only when it is complete. Note: Polygon and subdivision surface primitives have default UV texture coor- dinates that can be used for texture mapping. However, if you modify the de- fault primitives in any way (that is, scale, extrude faces, insert or delete edges) you will need to map a new set of UV texture coordinates onto the object to suit your texture mapping requirements. Bump maps Bump maps are grayscale textures you map to objects to create the illusion of surface relief (elevations and depressions) on an otherwise flat object. With bump maps, depressions and elevations look real because they don’t al- ter the geometry of the surface the way Displacement maps do. Bump maps just change the direction of the surface’s normals based on the bump map’s Alpha Gain value. Use bump maps to create very shallow reliefs. For example, you can make ob- jects look like they are embossed, have shallow rolling hills, and so on. Because bump maps are not true surface relief, they: cannot cast or receive shadows cannot be seen if you silhouette the mapped object take less time to render than displacement maps Note: File textures that are used for bump mapping are usually connected via their out Alpha attribute. If the corresponding texture image file does not pro- vide an alpha channel, then the bump effect may be missing when using cer- tain image formats. To avoid this, turn on the Alpha is Luminance attribute in the Color Balance section of the File Texture node. For more information, see File. Tip: Map surface relief (bumps or displacements) to the Blinn surface material to reduce highlight roping or flickering. The soft highlights on Blinn surfaces are less likely to cause roping or flickering than the harder highlights on Phong surfaces. Although scratches are like little depressions, you can more easily achieve them with 2D textures. 58 Unit 2: Shading and Texturing Simple specular map made in Photoshop Just like the bump map you can quickly make specular map in PS by changing a few parameters. a.) Desaturation To do this simply select Hue/Saturation(Ctrl+U)and set the value of Saturation to -100 or slightly less. b.) Inversion Unfortunately now all of the reflections would be in the hollows but we want to achieve just the opposite of that. That’s way you need to do inversion. Key combination Ctrl + i will do color inversions and already we can see that map is close to what you are expecting. c.)Levels You have to set the Levels that so the black areas will be really crisp and so are going to see the transitions between black and white points. d.) Sharpen It’s always worth to make our map a little sharper. Just go to Filter-> Sharpen-> Smart Sharpen and play with the sliders. Immediately you have a real-time 59 Texturing Artist : Class – X view in the window how the sharpening is changing. Of course you cannot overdo with this. And this is how it looks like step by step. 2.Crazy bump Here is very simple work to do. We will do everything in analogy of the creating the bump map. a.) Import a map Now, you have to open your map. Select that option which you can see on the left in the picture below. Once have you chosen the map wait until Crazy Bump will stop thinking and then new window will appear like on the right side in the picture. What’s going on? If you remember how the bump map works(you have to know it!), you should immediately guess that the program gives us a choice of what type of map we want. Map on the left has darker places so when you will choose that one , your map will give more concavity effect, and the map on the right is the inverse. In fact it doesn’t make a big difference which type you will choose, because in 3ds max you can set the right value of the map. 60 Unit 2: Shading and Texturing b.)Settings First of all there is a fewer setup sliders than on bump card however that doesn’t change the fact that you can get great effect or screw up everything :D Description of the parameters for the Specularity map Slope influence - here you can make that the holes will look deepen. I don’t recommend changing it from a zero value. Below you can view how map is changing while you are changing this and the other settings. Texture influence - Here you can change the influence of texture on the map. Why I would to change it from a zero value? It’s a very good question :P It’s only useful when you have a texture with a lot of pits and bulges, then you can make that the light will reflect only on the most sharp places. Enhence detail - responsible for the amount of detail to be included on the map. Brightness - higher value makes map will be… all shiny without taking into account the number of pits and bulger of diffuse map. Contrast - with increasing contrast, collapse places will be more sharp. Sometimes this can be useful (for example on leather seat material) but usually the better way is just set a value in the range 15-25. Add noise - this can add noise to the map Metallic color - this can add metallic color to the map 61 Texturing Artist : Class – X c.)Saving the file Let’s choose save(floppy disc) -> save normals as -> and here we have to pick out the same typ of map like in the second method – tiff format. Sometimes map doesn’t want to work (I read that on the internet). The way to avoid this is very simple, just reopen the file in Photoshop or another type of program and simply save it again and it will work correctly. How to Create Seamless Textures in Photoshop Whether you’re wrapping textures around 3D objects or simply filling a back- ground, it’s likely you’ll need to fill a larger space than your original texture block will allow. The problem is how to avoid the obvious joins where the tex- ture repeats. Here’s a simple solution that you can use to make any texture seamless. Step 1: The starting texture Choose your texture, and crop it so that it fits the Photoshop window – you don’t want any of it to hang off the canvas. If you have your Crop Tool set so that it doesn’t delete pixels, which is standard, then after you’ve cropped Select All and then make a new layer from the selection. This will limit the new layer to just what’s visible in the window. Step 2: Offset the texture Drag the texture layer to the bottom left, so the corner of the texture is now more or less in the middle. You don’t have to do this precisely. 62 Unit 2: Shading and Texturing Step 3: Repeat the texture Hold Option/Alt as you drag the texture up with the Move Tool to make a copy, holding Shift so it moves exactly vertically, until the bottom of the repeated texture meets the top of the existing one. Then use Command/Ctrl+E to merge these two layers together. Step 4: Repeat again Now drag the layer to the right, again holding Option/Alt and Shift to make a copy. Merge down once again. You’ll now have offset the original texture so that the edges are in the middle. The joins are obvious here – but you know 63 Texturing Artist : Class – X that where the texture goes off the top, it seamlessly repeats on the bottom, and the same for left and right. Step 5: Patch the joins The easiest way to begin is to use the Spot Healing Tool, dragged vertically down the centre and horizontally across. This will be a great start, although you’re not there yet. Step 6: Fix the errors After using the Spot Healing Tool you’ll probably be left with some unwieldy patches – such as the black stone at the top of this image, which looks too 64 Unit 2: Shading and Texturing cut-off on the right. Switch to the Clone Tool, and use it to sample clear patch- es of background to cover up any anomalies. Step 7: Save the texture Select All, then go to Edit > Define Pattern. Give the new pattern a name, and click OK. You’ll now be able to use it in any of your Photoshop work. Step 8: Try it out The easiest way to test the new texture is to make a new layer, filled with any flat color, and choose Layer > Layer Style > Pattern Overlay. The new texture will be the last one in the list. Once it fills the layer, move the dialog out of the way, 65 Texturing Artist : Class – X and you’ll be able to drag it around to check that it really is seamless. You can reduce the scale as well, if you like, to check the repeats. 66 UNIT 3: TEXTURING IN PHOTOSHOP AND AUTODESK MAYA 1. CREATE COLOUR MAP Process of creating diffuse map in Photoshop The diffuse map is a tilable (usally) image which gives the color infomation, but does not contain lighting or height information for the texture. It is stored as dds with dxt1 or dxt3 compression for use in Doom 3 and as 24 bit TGA (with or without RLE) for the hires repository. If your image has lighting baked in (shadows/highlights), you should remove it. Photoshop Inspect the source image. If you’re going to tile it, try to find a regular repeating area. This is only to make your job easier. You can tile anything, really, but it depends on how much work you want to give yourself. After you’ve chosen a rough tile-able area, crop that area out, and size your im- age to the desired size ratio. Do not go lower than 1024 resolution at this stage of the work, or you’ll start losing picture quality quickly. So set it to 2048X1024, or 1024X1024, etc. The reason we need to fix the size ratio (not the final size) at this stage is for the next step. Set the offset Go to Filter->Other->Offset. You want to set the horizontal and vertical to be exactly half of your cropped picture’s width and height. That will make the op- posite edges of the texture meet each other in the middle of the view, so you can make it really tile-able. 67 Texturing Artist : Class – X Make the seams disappear See those seams running right down the middle of the pic, vertically and hori- zontally? You have to make them disappear. Get to know the clone tool. (Goo- gle...) There are many other ways to shuffle pixels too, but I’ll leave the specifics up to you. This is usually the hardest, most time consuming step. Once you’ve blended the lines away, run the Offset filter again to restore the correct layout of your pic, and save it out in a nice high quality (but not too big to manage) format. This is the “diffuse” image. We’re using 24bit TGA for TDM. Preparing the Diffuse Map in Photoshop Open the Normal map project. Add a new layer above the Normal group. Name it ColorBase. Change the fore- ground color to a dark gray. Turn on the Template layer. Go to the ColorBase layer, and fill it with the fore- ground color. Pick a dark brown color for the foreground, and light brown color for the background. 68 Unit 3: Texturing in Photoshop and Autodesk MAYA On the ColorBase layer, make a selection over the handle grips mesh. Go to Filter/Render/Fibers. This will fill in a wood texture for the handles. Go to Select/Inverse. This will select all the other pieces which we want to be gray. Keep the selection on and go to Filter/Noise/Add Noise/0.25%. This will add a bit of texture. 69 Texturing Artist : Class – X Save your project as a.PSD file. Turn off the Template layer. Flatten the rest of the layers. Then Save As… Diffuse.TGA Now check your model in 3ds Max. It is still plain looking, but we will fix that with some layer style effects. Layer Style Effects Add a new layer. Call it ColorIndents. 70 Unit 3: Texturing in Photoshop and Autodesk MAYA Open the Normal group. Go to the Indents layer in the Normal group. Use the MagicWand tool and click the empty background. Then go to Select/Inverse. The Indents are all selected. Turn off the Normal group, go to the ColorBase layer and go to menu and Edit/ Copy. We now have a copy of the ColorBase texture inside the selections. Go to the ColorIndents layer. Then go to Edit/Paste Special/Paste in Place. Merge the pasted layer into the ColorIndents layer. Now we have the ColorIn- dents layer filled. 71 Texturing Artist : Class – X Turn on the ColorBase layer and the ColorIndents layer. The pieces blend in. We will use Layer Style Effects to the indented areas to add more color to the texture. While on the ColorIndents layer, go to Layer/Layer Style/Inner Glow. Pick a brown color to simulate dirt. Blend Mode = Overlay. Size = 10. Noise = 25. 72 Unit 3: Texturing in Photoshop and Autodesk MAYA Then go to Layer/Layer Style/Outer Glow. Pick a bright grey color to simulate chipped paint. Blend Mode = Overlay. Size = 10. Noise = 20. Finally go to Filter/Blur/Blur More. This will smooth the edges of the indented areas. Now we have the texture for all the Indented areas. Create two new layers: ColorExtrude1 and ColorExtrude2. 73 Texturing Artist : Class – X Follow these steps: ColorExtrude1 layer: #1. Get the selection of extruded pieces from Extrude1 in the Normal group of layers. #2. Go to the ColorBase layer and Copy. #3. Go to ColorExtrude1 and Paste in Place. #4. On the ColorExtrude1 layer add an Inner Glow for chipped paint, and an Outer Glow for dirt. #5. Filter/Blur/Blur More. ColorExtrude2 layer(the rivets): #1. Get the selection of extruded pieces from Extrude2 in the Normal group. Turn off Anti-alias #2. Go to the ColorBase layer and Copy. #3. Go to ColorExtrude2 and Paste in Place. #4. On the ColorExtrude2 layer add an Inner Glow for chipped paint, and an Outer Glow for dirt. For the rivets, we want the Inner Glow to come from the Center, Size=5. 74 Unit 3: Texturing in Photoshop and Autodesk MAYA #5. Don’t blur. Almost finished the Diffuse(Color) map. Ctrl-click all the layers below the Template layer and above the Normalgroup. Then right click and go to Link Layers. Under Layers on the menu, Group the layers and rename it Diffuse. Highlight All Edges Create a new Layer called Alledges. Put it below the Template layer. 75 Texturing Artist : Class – X Open the Diffuse group, and turn off all other layers. Merge the Visible layers. Select the entire screen. Go to Copy on the menu. We just want a copy of this diffuse image. 76 Unit 3: Texturing in Photoshop and Autodesk MAYA Get the Diffuse group of layers back again. We want to keep the Diffuse group if we decide to make any changes there. So, CTRL+ALT+Z until you are back the Diffuse group. Now go to the All Edges layer and then Paste from the menu. Now we have a copy of the flattened Diffuse group in the All Edges Layer. Uncheck Anti-alias. Go to the Template layer and use the Magic Wand tool to click a

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