Most of the dependency between lighting and texturing arises from how bump maps, specularity, reflectivity, etc. rely on the light source for their effectiveness. Therefore, it is usually best to add them after the lighting.
3.0 3D 3ds Add Adjustments Adobe Ajax Ball Biped Blur COMPOSITING CS3 CS4 Cart Change Cinema Clip Colorize Custom Digital Dreamweaver Eclipse Editor Extended Extract Flv Frame GRADIENT HTML Illustrator Image Interface Java Javascript Layer Learn MIDI Max Menu Microsoft Modeling Modifier Photo Photoshop Player Polygon Poser Premiere Reflection SEO STYLES Shape Shopping Smart Studio Text Texture Texturing Using Video Watercolor action actionscript adjustment after align animate animated animating animation animations apple application audio background basic basics black blend border brush button camera character class clone color colour command contrast create css cut data database design drawing edit effect effects elements engine excel export exporting expressions eyes file filter filters final fireworks flash flex footage form framework free function gallery glass google guide help home how images in indesign jquery language layers lens library light lighting logo looping mac macromedia makeover marketing mask masking masks maya mesh model motion movies music mysql noise object objects optimization over panel photography photoshopmama php plugin polygons portrait pro professional rascal999 raw retouching saturation screen script search select server shadow sharpen site skin smoke smooth spielvan table thelittlephotoshop time tips to tool tools turkish tutorial tutorials tween vector warp web website white windows xml
Jun 17: Malanjo, from 3dtotal, spent his rare freetime to write an excellent Making-Of article about his latest masterpiece: Prince NyTael. Software used: 3d Studio MAX and ZBrush...
3DValley Featured 2D Artist of March 2009 - Gareth Southwell. Gareth is a freelance artist/illustrator based in the UK. He is specialized in figurative work and his preferred medium is black and white line drawing, though he does venture into color when the occasion demands. At the moment he is illustrating a series of philosophy books and working on his own comic project. He has published work in magazines in Europe, America, and Australia, and regularly contributes to The Philosophers? Magazine. Please read our interview with Gareth below to get to know him and his work a bit better.
Well I hope you don't mind Javi but I just couldn't help giving one last tweak to your image and in doing so giving away another little trick to the readers.
The last step is to unhide the copies and morph the flat pieces back to their original shape using the morpher modifier or Shape Blend or whatever (Check out the TimeLapseModeling demo in the Learn section of this site to see what I mean). Collapse the stack again. Attach everything back together and weld the verts. Your done. Sounds easy on paper but I highly recommend you practice on a simple object a few times to learn the exact workflow.
STEP 4: MOVE AND SCALE PROJECTED FACES IN EDIT UVW'S WINDOW Open Edit UVW's window. In rollout Parameters, click Edit button to open Edit UVW's window. You may wonder, where is the uvw coordinates? Relax, they are already there. Simply click Extent All button at the bottom right of window. Now, all coordinates will show up. It looks like uvw coordinates are very large. Of course you can resize them later.
If you don't have Gundam 3D model, you can download here. After you download, import 3ds file (File>Import). Hide all objects, except head. We will focus on the head first. Base color for the head should be white (ID=1). Go to Modify tab and activate Polygon selection. Select all polygons and in Surface Properties rollout, enter Set ID=1. (Note: if you create Gundam object by yourself, you will have Editable Poly object and Material ID setting is located in Polygon Properties rollout).
It's time to texture our little panda, after we created him in Kung Panda Modeling tutorial. We are going to use Unwrap UVW. If you are unfamiliar with Unwrap UVW, consider to look at our previous tutorial: Understanding Unwrap UVW and Unwrap UVW Texturing. It is quite hard to unwrap a complex model like human character or this panda. But, if you follow this detailed and step by step tutorial, you will be able to use techniques describe in this tutorial at any model. Let's unwrap!
You have already knew how to model a dolphin, now it's time to do texturing. In this tutorial you will learn how to texture a dolphin using Unwrap UVW. If you are unfamiliar with Unwrap UVW, you are encouraged to see our previous tutorial about Unwrap UVW, like Understanding Unwrap UVW and Unwrap UVW Texturing.
I have wrote tutorial titled Understanding Unwrap UVW. In that tutorial, I explained how to use Unwrap UVW to texture a box. But, in that tutorial I assumed we already had a scanned texture. So, Unwrap UVW is used only to match faces with appropriate texture. Now, in this tutorial I will explain 8 steps how to texture an object using Unwrap UVW. You can use these techniques for almost any object needed to be textured, especially if you want to texture a low poly model for games.
In previous tutorial Unwrap UVW Texturing Part 1, I have explained about 8 steps using Unwrap UVW. This tutorial is an addition to that tutorial. We will learn about stitching to create continuous mapping. This feature is important, especially in organic mapping. Consider this, when you texture human, you separate head and body as different mapping cluster. As a result, when you render, there may be a mark in the neck because the mapping cluster is not continuous.
This tutorial will teach you a couple of methods to use to texture your objects in 3D Studio Max. Texturing an object is understood as the process of adding skin and colour to an object. We are going to use UVW and Unwrap UVW Maps to texture our objects in this tutorial. This method involves the creation of a 2D map that is 'glued' to our 3D model. You are assumed to have the basic knowledge on how to model your own objects in 3D Studio Max. We will provide you with a plain 3DS model and JPG textures to use in this tutorial to create the scene displayed in the image below.
This tutorial will teach you how to use the UVW mapping texture technique in 3DS Max in order to be able to apply complex textures to your created models. The UVW mapping technique involves the creation of a 'template map' which we extract, colour and then stitch back onto the model as a texture. Unlike our previous UVW and Unwrap UVW Maps Tutorial, we are going to apply the texture using a single map instead of creating multiple ones for the various sections in the model and this is the method that is usually used for creating textures in games. This is an intermediate level tutorial, you are assumed to have decent knowledge on how to use Max. Our tutorial is not going to cover any modeling, please download the house model to be used in this tutorial here.
Detail Textures are exactly how they sound, they are the distinct details that you put in your scene to remove that repeating texture look that the base textures cause. Depending on how you're using them they do not necessarily have to tile. Also these textures are applied to the scene a little differently then base textures. Detail textures are usually applied threw compositing or blending with the base textures that are already in the scene. To give you an example on how they might be applied I'm am going to walk you step by step through the process I used to create this image from the previous article.
To complete this tutorial you'll need to download and install a free plug-in called Greeble (its size is just 25.4KB). Plug-in can be found here (http://max.klanky.com/Greeble7.zip). After installing it, it'll appear in the modifier list.
3.0 3D 3ds Add Adjustments Adobe Ajax Ball Biped Blur COMPOSITING CS3 CS4 Cart Change Cinema Clip Colorize Custom Digital Dreamweaver Eclipse Editor Extended Extract Flv Frame GRADIENT HTML Illustrator Image Interface Java Javascript Layer Learn MIDI Max Menu Microsoft Modeling Modifier Photo Photoshop Player Polygon Poser Premiere Reflection SEO STYLES Shape Shopping Smart Studio Text Texture Texturing Using Video Watercolor action actionscript adjustment after align animate animated animating animation animations apple application audio background basic basics black blend border brush button camera character class clone color colour command contrast create css cut data database design drawing edit effect effects elements engine excel export exporting expressions eyes file filter filters final fireworks flash flex footage form framework free function gallery glass google guide help home how images in indesign jquery language layers lens library light lighting logo looping mac macromedia makeover marketing mask masking masks maya mesh model motion movies music mysql noise object objects optimization over panel photography photoshopmama php plugin polygons portrait pro professional rascal999 raw retouching saturation screen script search select server shadow sharpen site skin smoke smooth spielvan table thelittlephotoshop time tips to tool tools turkish tutorial tutorials tween vector warp web website white windows xml
3.0 3D 3ds Add Adjustments Adobe Ajax Ball Biped Blur COMPOSITING CS3 CS4 Cart Change Cinema Clip Colorize Custom Digital Dreamweaver Eclipse Editor Extended Extract Flv Frame GRADIENT HTML Illustrator Image Interface Java Javascript Layer Learn MIDI Max Menu Microsoft Modeling Modifier Photo Photoshop Player Polygon Poser Premiere Reflection SEO STYLES Shape Shopping Smart Studio Text Texture Texturing Using Video Watercolor action actionscript adjustment after align animate animated animating animation animations apple application audio background basic basics black blend border brush button camera character class clone color colour command contrast create css cut data database design drawing edit effect effects elements engine excel export exporting expressions eyes file filter filters final fireworks flash flex footage form framework free function gallery glass google guide help home how images in indesign jquery language layers lens library light lighting logo looping mac macromedia makeover marketing mask masking masks maya mesh model motion movies music mysql noise object objects optimization over panel photography photoshopmama php plugin polygons portrait pro professional rascal999 raw retouching saturation screen script search select server shadow sharpen site skin smoke smooth spielvan table thelittlephotoshop time tips to tool tools turkish tutorial tutorials tween vector warp web website white windows xml
- Pressing the M Shortcut on your keyboard - Pressing the Material Editor icon on your top toolbar in 3D Max - Clicking "Rendering -> Material Editor..."
Ok here's an admission of guilt - I based my wood texture on one of the maps that ships with max. The key word here is based as I repainted areas and made it fit the shape of my planks. I used the same map for both the diffuse and bump maps.
When using multiple machines to render an animation or still image, it's important that every computer has access to every texture in the scene. Unfortunately when working on a project there are usually always a few textures that can only be found on the computer you have been using. Texture paths can also be broken when working on a scene using a different computer. There is however a brilliant tool built right into 3ds max to change multiple texture paths at the same time, and get them all pointing to the correct folder. It's a very good idea to always check for any texture path related issues before sending the job off to render.
I do not wish to give a tutorial on how to make the image in photoshop, for it is simple to do, and I assume most users of 3dsm already have a knowldege of photoshop.
In the last years, a lot of innovations have been done to improve modeling and texturing of 3D-hair. Creating and animating hair that appears realistic still presents a real challenge to 3D-artists. The following techniques have evolved over the past years:
This tutorial attempts to show some of the techniques available to users for creating realistic surfaces. It shows the creation of a large metal anvil; chosen because it is a simple model to create and a good candidate for procedural texturing. Instead of taking you through every surface setting, I will provide an overview of each stage and present images for reference. The final model and scene are available for download at the end of this tutorial.
You probably already know this but if you're serious about working with 3D you're going to need a copy of Photoshop. It's pretty much the standard package for creating maps. Some people prefer Painter and perhaps Paintshop Pro which I haven't used at all so I can't say whether they're as powerful.
The texture artists. The unsung heroes of the 3D community. Great textures can save an otherwise mediocre model. It's not just what the textures look like, but also how they are applied or wrapped onto the 3D surface. So how do you wrap a flat 2D texture around a complex 3D surface?
With the modeling complete, the next step is to begin texturing the geometry. Ordinarily, texture mapping information can be applied directly to an animated mesh without adverse effects. However, smoothed polygons and meshes created using the subdivision emulation technique must be textured using a duplicate texture reference object if the artist expects to animate them and still have complete control over the texture mapping process. The reason for this lies in the way Maya organizes an editable history for all objects; when texture coordinates are assigned to a smoothed object, by default Maya applies the texture mapping action prior to the smoothing function. Maya assumes that most artists working with smoothed poly objects will want to bind the low-poly (unsmoothed) mesh directly to a skeleton, thus avoiding the diminished performance and complex skinning issues common to dense polygonal characters. The texture coordinate information is applied before skinning, animation, and smoothing so that the textures will not appear to ?swim? through the mesh when it is deformed. Unfortunately, this means that texture coordinates are created for only the low-poly mesh (which is less detailed than the smoothed surface and therefore an imprecise representation of the way the texture will ultimately map across it). The work-around to this problem is to create a duplicate of the smoothed geometry which will receive all texture mapping information. Once the texture coordinates have been established, they can easily be transferred from this duplicate reference object onto the actual smoothed surface which can in turn be animated without texture swimming.
At the morpher level of the stack, morph the figure back to the original 3D shape. If the morpher fails, geometry was changed and you likely must start again at step 2.
[5]Open the modifier panel or press M,add a map in the diffuse panel,then copy it and paste it into in the bump panel and apply as shown below.
Most of the dependency between lighting and texturing arises from how bump maps, specularity, reflectivity, etc. rely on the light source for their effectiveness. Therefore, it is usually best to add them after the lighting.
-Texture tutorial in Zbrush will be one of the future tutorials from me here.
-The poly modeling can be done with cinema 4D and MAYA too.
Thanks for comments at first :
[5]Open the modifier panel or press M,add a map in the diffuse panel,then copy it and paste it into in the bump panel and apply as shown below.
3.0 3D 3ds Add Adjustments Adobe Ajax Ball Biped Blur COMPOSITING CS3 CS4 Cart Change Cinema Clip Colorize Custom Digital Dreamweaver Eclipse Editor Extended Extract Flv Frame GRADIENT HTML Illustrator Image Interface Java Javascript Layer Learn MIDI Max Menu Microsoft Modeling Modifier Photo Photoshop Player Polygon Poser Premiere Reflection SEO STYLES Shape Shopping Smart Studio Text Texture Texturing Using Video Watercolor action actionscript adjustment after align animate animated animating animation animations apple application audio background basic basics black blend border brush button camera character class clone color colour command contrast create css cut data database design drawing edit effect effects elements engine excel export exporting expressions eyes file filter filters final fireworks flash flex footage form framework free function gallery glass google guide help home how images in indesign jquery language layers lens library light lighting logo looping mac macromedia makeover marketing mask masking masks maya mesh model motion movies music mysql noise object objects optimization over panel photography photoshopmama php plugin polygons portrait pro professional rascal999 raw retouching saturation screen script search select server shadow sharpen site skin smoke smooth spielvan table thelittlephotoshop time tips to tool tools turkish tutorial tutorials tween vector warp web website white windows xml
Now I will be working in Photoshop, I should first say that for a good texture, you need a good UV map with a minimum amount of stretching.
Now this is mess. Click on image to see large one. This is unwraped mesh of the shark. In lower right corner is a drop done many..
3DValley Featured 2D Artist of March 2009 - Gareth Southwell. Gareth is a freelance artist/illustrator based in the UK. He is specialized in figurative work and his preferred medium is black and white line drawing, though he does venture into color when the occasion demands. At the moment he is illustrating a series of philosophy books and working on his own comic project. He has published work in magazines in Europe, America, and Australia, and regularly contributes to The Philosophers? Magazine. Please read our interview with Gareth below to get to know him and his work a bit better.
Well I hope you don't mind Javi but I just couldn't help giving one last tweak to your image and in doing so giving away another little trick to the readers.
The base of this workflow begins at the modeling stage. The modeling process of all the armor's parts was pretty similar:
The last step is to unhide the copies and morph the flat pieces back to their original shape using the morpher modifier or Shape Blend or whatever (Check out the TimeLapseModeling demo in the Learn section of this site to see what I mean). Collapse the stack again. Attach everything back together and weld the verts. Your done. Sounds easy on paper but I highly recommend you practice on a simple object a few times to learn the exact workflow.
then adjust the specular level and glossiness. I chose 55 specular, and 20 glossiness.
STEP 4: MOVE AND SCALE PROJECTED FACES IN EDIT UVW'S WINDOW Open Edit UVW's window. In rollout Parameters, click Edit button to open Edit UVW's window. You may wonder, where is the uvw coordinates? Relax, they are already there. Simply click Extent All button at the bottom right of window. Now, all coordinates will show up. It looks like uvw coordinates are very large. Of course you can resize them later.
If you don't have Gundam 3D model, you can download here. After you download, import 3ds file (File>Import). Hide all objects, except head. We will focus on the head first. Base color for the head should be white (ID=1). Go to Modify tab and activate Polygon selection. Select all polygons and in Surface Properties rollout, enter Set ID=1. (Note: if you create Gundam object by yourself, you will have Editable Poly object and Material ID setting is located in Polygon Properties rollout).
It's time to texture our little panda, after we created him in Kung Panda Modeling tutorial. We are going to use Unwrap UVW. If you are unfamiliar with Unwrap UVW, consider to look at our previous tutorial: Understanding Unwrap UVW and Unwrap UVW Texturing. It is quite hard to unwrap a complex model like human character or this panda. But, if you follow this detailed and step by step tutorial, you will be able to use techniques describe in this tutorial at any model. Let's unwrap!
You have already knew how to model a dolphin, now it's time to do texturing. In this tutorial you will learn how to texture a dolphin using Unwrap UVW. If you are unfamiliar with Unwrap UVW, you are encouraged to see our previous tutorial about Unwrap UVW, like Understanding Unwrap UVW and Unwrap UVW Texturing.
I have wrote tutorial titled Understanding Unwrap UVW. In that tutorial, I explained how to use Unwrap UVW to texture a box. But, in that tutorial I assumed we already had a scanned texture. So, Unwrap UVW is used only to match faces with appropriate texture. Now, in this tutorial I will explain 8 steps how to texture an object using Unwrap UVW. You can use these techniques for almost any object needed to be textured, especially if you want to texture a low poly model for games.
In previous tutorial Unwrap UVW Texturing Part 1, I have explained about 8 steps using Unwrap UVW. This tutorial is an addition to that tutorial. We will learn about stitching to create continuous mapping. This feature is important, especially in organic mapping. Consider this, when you texture human, you separate head and body as different mapping cluster. As a result, when you render, there may be a mark in the neck because the mapping cluster is not continuous.
LINK to download a test animation I've rendered to check how the materials react to different lighting setups.
This tutorial will teach you a couple of methods to use to texture your objects in 3D Studio Max. Texturing an object is understood as the process of adding skin and colour to an object. We are going to use UVW and Unwrap UVW Maps to texture our objects in this tutorial. This method involves the creation of a 2D map that is 'glued' to our 3D model. You are assumed to have the basic knowledge on how to model your own objects in 3D Studio Max. We will provide you with a plain 3DS model and JPG textures to use in this tutorial to create the scene displayed in the image below.
This tutorial will teach you how to use the UVW mapping texture technique in 3DS Max in order to be able to apply complex textures to your created models. The UVW mapping technique involves the creation of a 'template map' which we extract, colour and then stitch back onto the model as a texture. Unlike our previous UVW and Unwrap UVW Maps Tutorial, we are going to apply the texture using a single map instead of creating multiple ones for the various sections in the model and this is the method that is usually used for creating textures in games. This is an intermediate level tutorial, you are assumed to have decent knowledge on how to use Max. Our tutorial is not going to cover any modeling, please download the house model to be used in this tutorial here.
Detail Textures are exactly how they sound, they are the distinct details that you put in your scene to remove that repeating texture look that the base textures cause. Depending on how you're using them they do not necessarily have to tile. Also these textures are applied to the scene a little differently then base textures. Detail textures are usually applied threw compositing or blending with the base textures that are already in the scene. To give you an example on how they might be applied I'm am going to walk you step by step through the process I used to create this image from the previous article.
To complete this tutorial you'll need to download and install a free plug-in called Greeble (its size is just 25.4KB). Plug-in can be found here (http://max.klanky.com/Greeble7.zip). After installing it, it'll appear in the modifier list.
. All of the file required for this tutorial can be found here:
3.0 3D 3ds Add Adjustments Adobe Ajax Ball Biped Blur COMPOSITING CS3 CS4 Cart Change Cinema Clip Colorize Custom Digital Dreamweaver Eclipse Editor Extended Extract Flv Frame GRADIENT HTML Illustrator Image Interface Java Javascript Layer Learn MIDI Max Menu Microsoft Modeling Modifier Photo Photoshop Player Polygon Poser Premiere Reflection SEO STYLES Shape Shopping Smart Studio Text Texture Texturing Using Video Watercolor action actionscript adjustment after align animate animated animating animation animations apple application audio background basic basics black blend border brush button camera character class clone color colour command contrast create css cut data database design drawing edit effect effects elements engine excel export exporting expressions eyes file filter filters final fireworks flash flex footage form framework free function gallery glass google guide help home how images in indesign jquery language layers lens library light lighting logo looping mac macromedia makeover marketing mask masking masks maya mesh model motion movies music mysql noise object objects optimization over panel photography photoshopmama php plugin polygons portrait pro professional rascal999 raw retouching saturation screen script search select server shadow sharpen site skin smoke smooth spielvan table thelittlephotoshop time tips to tool tools turkish tutorial tutorials tween vector warp web website white windows xml
- Pressing the M Shortcut on your keyboard - Pressing the Material Editor icon on your top toolbar in 3D Max - Clicking "Rendering -> Material Editor..."
When using multiple machines to render an animation or still image, it's important that every computer has access to every texture in the scene. Unfortunately when working on a project there are usually always a few textures that can only be found on the computer you have been using. Texture paths can also be broken when working on a scene using a different computer. There is however a brilliant tool built right into 3ds max to change multiple texture paths at the same time, and get them all pointing to the correct folder. It's a very good idea to always check for any texture path related issues before sending the job off to render.
