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#11 (permalink) |
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Senior Artist
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Is it me or is there some thing wrong with the uvw, part taht are the same have diffent scales for front and back, and the blade has been made all squashed?
If there is nothing wrong with it, i will have to re uvw map it but will it count towards the final time, as it would probaly take me more than 90 mins ro re uvw map it. |
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#12 (permalink) |
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New Artist
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First time here, Do we post the full sized tex map here, I did mine at 1024 x 512??
@HollowIchigoBanki, the UV maps is 1:2 so the squashed looking is from using squares on a square map.Part of the hilt has two sizes but it only too 5 mins to move them around (3dMax) Last edited by LRS3d; 07-07-2008 at 01:38 AM. |
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| The Following User Says Thank You to LRS3d For This Useful Post: |
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#14 (permalink) | |
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Senior Artist
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Quote:
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#15 (permalink) |
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Senior Artist
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Good evening folks!
![]() Click for maps! Description: I started out like I always do, by masking out all the different parts of the UV’s. In this case, I separated the leather parts from the ones made out of metal. I usually do this to save time during the skinning possess. (Makes it easier to select the various parts of the texture if you want to apply a grunge layer to just the metal, for instance.) The first thing I began laying down some textures to was the handle. This was skinned using a leather base from cgtextures. The same base was used for the other leather parts as well. The pattern on the handle was made using the line-tool. I did some dodging and burning to emphasise the edges of the leather parts, and in the process making then look a tad worn. Following this, I wanted to add some decorative details to the leather, so I went hunting for some Celtic knot patterns. I absolutely love these sorts of patterns so it felt natural to decorate it with them. I proceeded to stain and grunge the leather up a bit using various brushes and overlays. The metal was as usual done using my regular 3-layer metal technique. One for the metal base, consisting of a basic artistic-sponge metal base, another one on top of the first one, this time containing basic lighting information, painted using black and white, and overlaid to the first layer, and finally a grunge layer with additional details on top of the other two layers. Finally, details such as dents and scratches were hand painted in using the dodge and burn tool, combined with a 1px brush and a Wacom tablet. A few more grunge layers containing traces of rust and dirt were later added on top of it all, along with some more dodging and burning. Finally, an AO bake was made. Specmap created using adjustment layers with layer masks, and the normal maps were generated the usual way using CrazyBump and later assembled in Photoshop. |
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#16 (permalink) |
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Artist
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Very nice, Fleistad! You've definitely started things off with a bang.
![]() You said your metal process starts with a "basic artistic-sponge metal base". Would you mind posting a small sample of that? Are you using custom brushes in PS to do that, or are you using Painter? Thanks. |
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#18 (permalink) |
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New Artist
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@fleistad
Is it better to use software render or hardware render? I am new to this whole texturing thing. Also what channel would you place an AO map? Im using Maya so I am guessing I would play around with the blinn or phong shader correct?
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Aspiring Environment Artist |
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#19 (permalink) |
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Artist
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You can Multiply the AO map into your Color map in Photoshop and flatten that for the final render.
Great texture & render by fleistad so he can comment on what he used to produce it. Although I don't imagine you would use a hardware render in Maya. If I remember correctly, for DW3, you could only use a basic light setup so the textures really had to drive the piece. I assume the same would be true here. |
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