TE AM FL Y This page intentionally left blank ® Team-Fly to remove this watermark Please purchase PDF Split-Merge on www.verypdf.com CHAPTER 12 Skinning the Slogre with Deep Paint 3D and Photoshop Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark 12 476 Skinning the Slogre C ontinuing with the compound asset–design path, this chapter picks up where you left off in Chapter 6, “U-V Mapping the Slogre with DeepUV” (see Figure 12.1) Here, you’ll use your newly developed U-V texture map to texture the slogre in both Deep Paint 3D and Photoshop In this chapter, you’ll use Lars’ sketch of the slogre in combination with the 3D mesh you created in Chapter 4, “Modeling the Slogre Character with trueSpace 6,” to develop an eerie, otherworld-style skin texture for the character Figure 12.2 shows the completed texture applied to the slogre In this chapter, you will ■ ■ ■ ■ ■ Dissect the slogre sketch and consider texturing possibilities Receive an overview of what texturing techniques you’ll be employing Link 3D Studio Max, DeepUV, Deep Paint 3D, and Photoshop to create a fluid texturing operation Use Deep Paint 3D to assist your 3D texturing in conjunction with Photoshop Texture the slogre using advanced texturing techniques Figure 12.1 This stage in the compound asset– creation process Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark Identifying the Slogre’s Body 477 Figure 12.2 The texture you’ll be making in this chapter, applied to the slogre Identifying the Slogre’s Body Before you start tossing paint onto your texture canvas, let me point out highlight areas of the slogre’s body, just as I did with his RF-9, so that you have a somewhat logical plan Figure 12.3 maps out the areas I’m about to discuss Face/tusks The sketch in Figure 12.3 shows the slogre as having large, pursed lips that cover jagged teeth; I was thinking that the lips themselves should be more reptilian, instead of big Mick Jagger–style ones Other sketches Lars drew also included a pair of uncomfortable-looking tusks or fangs—nearly a half meter long—protruding from the sides of his mouth These will be easy; just apply an off-white, powdery texture like that of elephant tusks Two other areas in the front of the face of interest to me are the nose, which I envision to be two small vertical slits (like a sea lion’s), and a wrinkly forehead that seemingly has way too much fat present beneath it Notice, too, that the underside of the neck area appears much different from the rest of the body—very reptilian, almost like the underbelly of a snake You can use some dodging and burning for the forehead to enhance the fatty bulges, and apply shadowed bevels for the neck Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark 478 12 Skinning the Slogre Figure 12.3 The areas that are most critical to the slogre Eyes The location of the eyes in this sketch are a bit higher than I imagined; I’d like to see them down on the side of the face, like the eyes on a fish or a bird, making this character appear much more alien The eyes themselves should be a glossy, menacingly deep red, and slightly recessed into the head The ridge that’s underneath the eye in the sketch should be on top for shading from the intense heat generated by the twin-sun solar system from which the slogre originates Mane The hairs on the back of the slogre could have been done nicely on a separate, perpendicular plane with a transparency channel, but I think I’m going to opt for no hair at all I’d rather see this creature look more reptilian The hump in this area might be a little more weathered since the suns in his world beat down on it constantly, so you’ll make use of the Dodge tool here Backpack During my initial discussions with Lars about the look of this character, I envisioned him (the slogre, not Lars) carrying a pack of ammo wherever he went Now, however, I’m wondering how the hell he’s going to reach around and nimbly remove a small pellet clip with half-meter-long claws! For this reason, I neglected to model a backpack onto this character; besides, the pack can always be modeled separately and attached by the game engine if needed (All you have to is add an appropriate mounting dummy; see Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark Thoughts on Texturing 479 Chapter 14, “Making The Slogre Game-Ready with 3D Studio Max and Character Studio,” for more information.) Body I’m going to cover the entire body with a scaly green/red/orange base texture, very much like the full-color image Lars provided (see the colorplate section in the middle of the book) This is easily done with the Stained Glass filter I’ll also bevel the individual cells of this texture to raise it upward and give it a nice rough feel Some areas around the tail, gut, and middle are folded with a fat/muscle composition; careful dodging and burning should the trick Arms and legs The arms and legs will be textured in the same way as the body, only you’ll deepen the shadows that define the edges of the muscles to make them bulge more The geometry of the slogre’s mesh will take care of the rest Cuffs These are the only inorganic objects on the slogre You’ll apply a base metal texture to them, and scratch them up a bit as needed The metal should be a nice, worn, tarnished steel (At first I pictured shiny NOTE brass, but would he really have Feel free to try texturing this that?) Claws/nails These will have a texture similar to that of the tusks You’ll define the toenails by drawing them with a lasso selection and filling them with the off-white texture, then possibly applying inner bevels to raise them a bit model (or your own) however you want In fact, I’d really like to see your own texturing attempts at this model put mine to shame! If you like, you can e-mail your attempts to me at g_lok434@hotmail.com Thoughts on Texturing As I mentioned in Chapter 2, “Getting Ready to Model: Concept Art,” I get lots of my ideas from animals that live on Earth; you probably remember that much of the slogre’s appearance derives from the extinct sloth I also get lots of ideas for texturing from watching movies and reading books (more so from movies) Some movies I considered while creating the sloth include ■ The Alien series The aliens’ oblong heads gave me insight for the slogre’s head Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark 12 480 ■ ■ ■ ■ ■ Skinning the Slogre The Predator series These movies helped me envision the slogre’s skin texture, size and strength, and claws Relic The massive fangs the beast in this movie used to grip its victims before yanking out their hypothalamuses was what I envisioned for the slogre’s tusks Also, the size and structure of the beast’s body is very similar to the slogre’s Dreamscape At the end of this movie, the antagonist transformed himself into a hideous, huge snake monster; the underside of the slogre’s neck is patterned after the underside of this monster’s neck The Jurassic Park series The dinosaurs’ skin in these movies is of particular interest to me; mottled green/red/brown, and rough like that of a rhinoceros, it looks much like the skin of a reptile—even though dinosaurs were warm blooded The claws and fangs of the larger Rexes interest me too—offwhite, dulled and pitted from use, and stained near the skin and gum lines Return of the Jedi Remember the part where Luke is dumped into the pit at Jabba’s lair? The pit contained a Rancor—a five-meter tall beast with similar qualities to your slogre model, particularly in the face Texturing the Slogre I like to make great use of many of Photoshop’s filters and styles to lay the ground work for my textures The organic stuff, however, needs a bit more traditional artwork applied—mostly through dodging and burning the base texture to enhance the muscular and fatty features of the animal Other than that, most of what I’ve covered in previous texturing chapters should suffice Let’s kick this into gear just like you did in Chapter 11, “Skinning the RF-9 Plasma Gun with Deep Paint 3D and Photoshop,” by linking the model to your painting programs and applying a test U-V map The linking steps presented here are nearly identical to the ones in the previous chapter Step 1: Linking the U-V Map to Deep Paint 3D and Photoshop The U-V map and texturing portions of this project are closely related and, in your case, rely on four separate programs all inter-linked with one another, as shown in Figure 12.4 With enough system memory, you can efficiently work with all these programs open, and bounce back and forth between them as you model, U-V, and texture Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark Texturing the Slogre 481 Figure 12.4 The dynamic link and work structure between the U-V and texturing programs you’ll be using In Chapter 5, “U-V Mapping the RF-9 Plasma Gun with DeepUV,” you installed the demo version of DeepUV (if you didn’t already have that program) as well as the necessary Max plug-ins For the remainder of this chapter, you’ll also use Deep Paint 3D, also from Right Hemisphere, the demo of which is located in the Programs section on the CD-ROM Install that now (if you don’t already have it), as well as the necessary plug-ins for both Max and Photoshop If you need help with the installation of the Deep Paint 3D demo, visit http://www.righthemisphere.com/support Once everything’s installed, the first thing you need to is bounce your U-V map from Max (or DeepUV) over to Deep Paint 3D (Mind you, this is only one way to this kind of work; you could just as easily work between 3D Studio Max and Photoshop I simply want to expose you to a great work structure that many other game artists employ.) Start by opening up your U-V-mapped slogre in 3D Studio Max This should be the file you saved in Chapter (if you don’t have it, open the file slogre_mapped.max, located in the Chapter 12 Data section on the CD-ROM) Then the following: With the U-V mapped version of the slogre loaded in 3D Studio, click on the Utilities tab at the top-right of the screen Click on the Right Hemisphere button to expand the list This should include two sections, one for DeepUV and one for Deep Paint 3D Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark 482 12 Skinning the Slogre Make sure your slogre model is selected and click the Paint Selection button in the Right Hemisphere utility panel (see Figure 12.5) This will fire up Deep Paint 3D and begin the UV–importing procedure NOTE Even though DeepUV is a linked part of the scheme in Figure 12.4, you’ll be skipping it for now.You can always bring your model into DeepUV and click File, Export, Paint with Deep Paint 3D; that way, you can make U-V adjustments, if necessary, while you work Figure 12.5 Click on the Paint Selection button in the Right Hemisphere section of the Utilities panel The Paint Selection button NOTE You may have to manually start Deep Paint 3D (and/or DeepUV if you want that open as well) if you get a Couldn’t Connect error when trying to paint the selection If you still can’t link Max with Deep Paint, consult Right Hemisphere’s technical support at http://www.righthemisphere.com/support Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark Texturing the Slogre 483 A Material Import screen pops up (see Figure 12.6); in it, Deep Paint 3D asks you what material size you want your texture to be and what channel to assign it to The panel is broken into two sections: The top is the mesh object with U-V–mapping coordinates, and the bottom is the untextured material that Max automatically assigned when you did your U-Ving Click the material name itself (mine is New Material), then click the Edit/Resize button Figure 12.6 The Material Import screen pops up, asking you about the properties of your new texture map Change the X and Y dimensions of the texture map to 1024 each This will make a huge texture map so you can detailed work (you’ll shrink it down later on) Uncheck the Start in Projection Mode option Projection mode enables you to paint directly on a model, regardless of distortions or other arrangements of the U-V map, as though the U-V are 1:1 with the mesh vertices (This is very useful for painting along seams!) Click OK, and give the map a name (I called mine slogreSkin) Click OK again Click on the Channels button The material must be placed in a shader channel so the program knows how to display it The first item on the list is the letter “C” for “Color.” Click it 10 A small menu pops up; choose Nothing This adds a New Blank Map entry in the list Please purchase PDF Split-Merge on www.verypdf.com to remove this watermark ... techniques you’ll be employing Link 3D Studio Max, DeepUV, Deep Paint 3D, and Photoshop to create a fluid texturing operation Use Deep Paint 3D to assist your 3D texturing in conjunction with Photoshop... like the underbelly of a snake You can use some dodging and burning for the forehead to enhance the fatty bulges, and apply shadowed bevels for the neck Please purchase PDF Split-Merge on www.verypdf.com... watermark Thoughts on Texturing 479 Chapter 14, “Making The Slogre Game- Ready with 3D Studio Max and Character Studio,” for more information.) Body I’m going to cover the entire body with a scaly