2D Artwork and 3D Modeling for Game Artists- P7

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Nội dung Text: 2D Artwork and 3D Modeling for Game Artists- P7

274 8. Inorganic Texture Tutorials with Photoshop Image: Adjust, Levels Input Levels: 151, 1.00, 173 Output Levels: 0, 255 28. Ctrl+click the Alpha 1 channel to load the selection. 29. Create a new layer in the Layers palette, and fill the selection with the dark- green foreground color (see Figure 8.120). Figure 8.120 Y Select the Alpha 1 FL channel’s opacity to load the mortar AM selection. Fill the selection with the foreground color on TE a new layer. 30. Choose Select, Inverse (Ctrl+Shift+I). 31. Press Q to enter Quick Mask mode. ® Team-Fly lease purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
Rock and Stone Textures 275 32. In Quick Mask mode, choose Filter, Brush Strokes, Spatter (see Figure 8.121). Figure 8.121 Invert the selection and enter Quick Mask mode. Apply the Spatter filter to chop it up. Filter: Brush Strokes, Spatter Spray Radius: 19 Smoothness: 5 33. Press Q to exit Quick Mask mode. 34. Press Delete to create the choppy effect on the top layer. Then press Ctrl+D to deselect it. 35. Choose Filter, Noise, Add Noise (about 10%). 36. Choose Filter, Texture, Craquelure to enhance the mortar (see Figure 8.122). Figure 8.122 Apply the Noise and Craquelure filters to the mortar layer. se purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
276 8. Inorganic Texture Tutorials with Photoshop Filter: Noise, Add Noise Amount: 10% Distribution: Uniform Monochromatic: (checked) Filter: Texture, Craquelure Crack Space: 20 Crack Depth: 7 Crack Brightness: 8 37. Click Stop on the Actions palette to stop recording. That’s the wall texture in a nutshell. By itself, it will tile seamlessly; when viewed from a short distance, however, a player will see the same bricks repeating themselves. You need to record a final routine that will simply make a copy of the base texture, start a new image, and replace only the whole stones in the image. By retaining the split edge stones, you retain the ability to tile other textures with each other. To accomplish this, record a new action that does the following: 1. Selects the first layer of the stone wall. 2. Copies the layer to a new image. 3. Copies the mortar layer to the new image. 4. Applies the Medieval Stone action to each of the six whole stones in the texture. In Figure 8.123, the first texture is the one you just did. The second stems from an action I made to replace only the six whole stones using the Medieval Stone action. Now I have two textures whose edges tile seamlessly and whose stones are different from each other. To complete the set, I created four different tiles using this Medieval stone action (see Figure 8.124). Figure 8.123 The second texture is based on the first; Matching only the six whole stone here stones have been replaced. Matching stone here lease purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
Metal 277 Figure 8.124 A completed stone wall set. Any texture in the set can be randomly tiled with any set member. NOTE TIP From now on, creating any color Notice that some of the stones in the wall in seconds is just a matter of set have cracks in them—try adding a setting new foreground and back- stop just before the call to the Gaussian ground colors, then playing the Blur in the Stone Wall action.When you Stone Wall action. I make tiles play the action, the stop will pause the for my set by playing a stone- action at that point; just spray thick replacement action called lines in your Alpha 1 channel where “Patternize,” consisting of the some cracks would go. Click Play to steps I mentioned just before. resume the action. Metal Being a very high-tech kind of guy, most of the video games I appreciate are fully loaded with heavy machinery, futuristic equipment, spaceship hulls, underground research labs, you name it. As with the other textures you’ve made, metal textures can be hand-made, taken from photograph, and more often than not, a composite of both. What I find most striking about texturing metal is how sharp and effective beveling styles and displacement channels can be. Let’s start with a few simple tuto- rials, then add to them as we go. se purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
278 8. Inorganic Texture Tutorials with Photoshop Basic Metal This is a simple filter-based brushed metal procedure that can be applied to any object requiring a finished metal look, like elevator doors or a control panel. 1. Start a new 600 × 600-pixel RGB image. (You’ll reduce it to 512 × 512 pixels on the last step to get rid of the smearing effect.) 2. Set your foreground color to a medium gray, like hex# A7A6A6. Press Alt+Backspace to fill the canvas with it. 3. Choose Filter, Noise, Add Noise (about 25%), as shown in Figure 8.125. Figure 8.125 Fill the image with gray and apply the Add Noise filter. Filter: Noise, Add Noise Amount: 25% Distribution: Uniform Monochromatic: (checked) 4. Choose Filter, Blur, Motion Blur (about 50 pixels), as shown in Figure 8.126. Figure 8.126 Apply the Motion Blur filter. lease purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
Metal 279 Filter: Blur, Motion Blur Angle: 0 degrees NOTE Distance: 50 pixels You can play around with the Distance amount; setting it any- 5. See the smearing/streaking that’s where from 10 to 60 pixels yields a texture that looks like real brushed going on at the left and right metal (the type you see on elevator edges? Crop it by clicking Image, doors, panels, and whatnot). Canvas Size, and entering 512 for both the width and height. Now you have basic metal. Shiny Metal To the texture you created in the previous section, you can apply the Lighting Effects filter coupled with a Curves adjustment to illuminate the metal texture’s surface and enhance its specularity. 1. Using the completed metal texture from the previous example, choose Filter, Render, Lighting Effects. 2. Use a spotlight for this one, making sure the light is pointing straight down and high above, encompassing the entire texture. Don’t make the top of the texture too bright; you only want to vary the surface shine so the Curves function can do its job (see Figure 8.127). Figure 8.127 Apply the Lighting Effects filter to the basic metal texture, using a semi-distant spotlight. se purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
280 8. Inorganic Texture Tutorials with Photoshop Filter: Render, Lighting Effects Light Type: Spotlight (vertically) Intensity: 28 Focus: 69 Gloss: 0 Material: 69 Exposure: 0 NOTE Ambience: 8 Feel free to play around with this to get Texture Channel: (none) the shininess you want. Curves can be a pain, and in most cases, only a seasoned 3. To enhance the specularity, art pro will quickly know how to set the click Image, Adjust, Curves. Curve function appropriately. If you’re having a hard time getting a curve just 4. Adjust the curve you see so right, try loading the shinymetal.acv that it looks like the one in file in the Chapter 8 Data section on Figure 8.128. the CD-ROM. Figure 8.128 Adjust the Curves function to enhance the texture’s specularity. lease purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
Metal 281 5. Choose Image, Adjust, Levels, and adjust the levels a bit to suit your taste (see Figure 8.129). Figure 8.129 Adjust the levels to suit. Metal from an Image The next time you go to any type of building that houses a public business, bring your camera (of course, tell the people at the front desk what you’re doing before you take any photos lest they nix you from the place). The countertops, bathrooms, and elevators are bound to be trimmed out with brushed metal. These images make outstanding base materials with which to work because their general compo- sition is linear but slightly heterogeneous, ideal for beveling operations. NOTE Why am I going into so much detail with textures? After all, most games have textures that average at best 256×256 pixels! Well, when you do concept art for the characters, box cover, posters, and what have you, the artwork will need to be at least the detail and resolution we start with, and averaging 3000×3000 pixels at 300 pixels/per inch! Start that image in Photoshop. Blank, it’s 25 MB. By the time you’re finished, it might be well over 100. se purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
282 8. Inorganic Texture Tutorials with Photoshop For this next example I want to give you some ideas for beveling metal. You’ll cre- ate a set of institutional doors with some personality. 1. Open the brushedmetal.jpg file in the Chapter 8 Data section on the CD- ROM (see Figure 8.130). This is a cropped image of the side of a gas pump (see gaspump.jpg to view the original). Figure 8.130 The brushedmetal.jpg image. 2. Make a copy of the background layer so there are two layers of metal. 3. Click on the bottom layer and fill it with black. That way, when a player punches or tears through the metal, a void will be revealed. You can then put other stuff between the background and the metal layers, like pipes and wires. 4. Select the top layer. 5. Using the Rectangular Marquee tool, select the entire left half of the image. (This might be easiest if you set the tool to Fixed Size, and enter 256 pixels for the width and 512 pixels for the height.) lease purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
Metal 283 6. Right-click on the selection and choose Layer Via Cut (see Figure 8.131). This places the door halves on separate layers. Figure 8.131 Select half of the image and cut it onto its own layer. 7. To raise the surface of the doors, double-click one of the door’s layers to bring up the Styles screen and apply an inner bevel. Apply this same style to the other door (see Figure 8.132). Figure 8.132 Apply inner bevels to both doors. Style: Bevel and Emboss Style: Inner Bevel se purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
284 8. Inorganic Texture Tutorials with Photoshop Technique: Smooth Depth: 100% Direction: Up Size: 7 Soften: 0 8. Using the Rectangular Marquee tool, create a window by selecting the upper half of one of the doors and pressing Delete to knock it out. Y 9. Click on the other door’s layer, move the selection, and delete it as well (see FL Figure 8.133). Notice that the inner bevel applies itself to the windowed area. Figure 8.133 AM Make windows in the doors. TE 10. With the rectangular selection still active, create a new layer between the black background and the door halves. 11. Using the Gradient tool, fill the selection diagonally with a linear gradient. If you go to the Gradient Editor, use the Copper gradient for this fill; this will give the window a glass look—except that it’s brown (you’ll fix that in a minute). 12. Move the selection to the other side and fill it again. 13. Click Image, Adjust, Desaturate. This gives the copper gradient a grayish look. 14. To simulate that shatter-proof look, add some little black lines to the win- dows (see Figure 8.134). ® Team-Fly lease purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
Metal 285 Figure 8.134 Create windows by filling the rectangular selections with a cop- per gradient, then desaturate. 15. Merge the doors and windows onto a single layer by linking each layer (except for the background layer), then clicking Layer, Merge Linked. This way, you won’t disturb the individual layer styles. 16. Let’s put a sign on the doors. Open the authorized.psd file on the CD-ROM, make a copy of it, and paste it into your image on the bottom-half of each door. 17. Double-click each sign’s layer to bring up the Styles screen, and apply a downward outer bevel (see Figure 8.135). (Add whatever bevel you think looks best. Sometimes, no bevel is good too!) Figure 8.135 Add the authorized.psd signs to both doors and apply an outer bevel to each. se purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
286 8. Inorganic Texture Tutorials with Photoshop Style: Bevel and Emboss Style: Outer Bevel Technique: Chisel Soft Depth: 200% Direction: Down Size: 5 Soften: 0 18. Click on the layer with the doors and add a new layer directly above it. 19. Create rectangular selections on each door to represent impact shields, or the spot where people most frequenty push the doors open. 20. Fill the selections using the Basic Metal technique from earlier in the chapter. 21. Apply a bevel of your choice. I applied a small upward outer bevel, then added rivets to the edges. (Don’t worry, rivets, screws, and the like are com- ing up soon.) This will represent the basic, completed set of doors (see Figure 8.136). Figure 8.136 Add impact shields to the doors using the Basic Metal as a texture. Apply a bevel for a 3D effect. lease purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
Metal 287 Rusted Metal Rust varies greatly from bubbly dark brown spots to solid dark orange smears to . . . well, you’ve seen it. It’s downright nasty (but quite delicious for texturing spaceship interiors, I must add). The Photoshop default actions come with a rusted metal procedure that’s alright, but let’s try this instead: 1. Start a 600×600-pixel RGB image. (You’ll crop the image back to 512×512 when you’re done to get rid of the edge bevels.) 2. Set the foreground to a reddish-brown, like hex# 2C0C01, and the back- ground to a brownish-orange, like hex# 2C1407. 3. Choose Filter, Render, Clouds (see Figure 8.137). Figure 8.137 Apply the Clouds fil- ter using red-brown and brown-orange colors. Filter: Render, Clouds Foreground: hex# 2C0C01 Background: hex# 2C1407 4. Choose Filter, Noise, Add Noise (see Figure 8.138). Figure 8.138 Apply the Noise filter. se purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
288 8. Inorganic Texture Tutorials with Photoshop Filter: Noise, Add Noise Amount: 12% Distribution: Uniform Monochromatic: (checked) 5. Choose Filter, Noise, Median (see Figure 8.139). Figure 8.139 Apply the Median filter. Filter: Noise, Median Radius: 1 pixels 6. The base rusted panel is done. Now let’s add a bolted rail that spans the width. To begin, use the Rectangular Marquee tool to select the upper half of the texture. 7. Right-click on the selection, and choose Layer Via Copy (see Figure 8.140). Figure 8.140 Make a rectangular selection and copy it. lease purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
Metal 289 8. The copy of the selection you just made should be on its own layer now. Double-click this layer to open the Styles screen, and apply an inner bevel to raise the surface. 9. Change the Highlight Mode setting’s color from white to something dark orange or it’ll look silly (see Figure 8.141). Figure 8.141 Apply an inner bevel to the new layer to raise the surface. Style: Bevel and Emboss Style: Inner Bevel Technique: Chisel Soft Depth: 100% Direction: Up Size: 5 pixels Soften: 0 Highlight Mode: Normal, dark-orange 10. Now for the bolts. To begin, start a new layer above the rail. 11. Select the Polygon tool, set its options to six sides, and create a large solid hexagon in the middle of the screen. 12. Ctrl+click the layer to select the hexagon, then run through the basic Rusted Metal routine to fill it (Clouds, Noise, Median). se purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
290 8. Inorganic Texture Tutorials with Photoshop 13. Apply an outer bevel to the hexagon to give it depth, as shown in Figure 8.142. (I also added the Contour option to sharpen the depth a little.) Figure 8.142 Add a hexagon and fill it with basic rust. Apply an outer bevel to give the hexagon depth. Style: Bevel and Emboss Style: Outer Bevel Technique: Chisel Soft Depth: 100% Direction: Up Size: 5 pixels Soften: 0 Highlight Mode: Normal, dark-orange Style: Contour Contour Shape: Linear Range: 50% 14. Scale the bolt down to size and position it on the middle of the rail. 15. Make copies of the bolts and position them as you see fit. (I rotated a couple of mine as well to make it more natural.) 16. Click Layer, Flatten Image. lease purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
Metal 291 17. Click Image, Canvas Size, and change the canvas to 512×512 pixels to crop out the edge bevels, if any (see Figure 8.143). Figure 8.143 Scale, position, and copy the bolt. Resize the canvas to crop the edge bevels. This is a good base panel for some type of equipment, or the outside of a boiler. Notice that I placed the bolts so that when duplicates of the texture are placed side-by-side, the bolts are evenly spaced (see Figure 8.144). I hope this texture will inspire you to create some other designs—try making other marquee selections and applying inner or outer bevels. Figure 8.144 The rusty panel wrapped around pipes. se purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
292 8. Inorganic Texture Tutorials with Photoshop NOTE A word about bevels, drop shadows, and styles in general: Assume, when making textures, that the global light for your game is a light source positioned high overhead and not off at an angle—unless your game company tells you otherwise. Just make sure that the Use Global Light option is always checked in any Styles dialog box, that the default (unless specified) light source is at 90 degrees high, and that your work is saved as a PSD before you merge layers with styles.That way, you can always retrieve your texture and readjust the global light in one go. Dripping Rust Dripping rust is a popular texture. To render it, you simply create some type of selec- tion and apply the Wind filter when in Quick Mask mode to get your selection to drip. 1. Start a new 512×512-pixel RGB image. 2. Repeat steps 1–5 of the Rusted Metal procedure. 3. Start a new layer. 4. Fill this layer with the entire Basic Metal procedure. The top layer should now be metal, and the bottom layer should be rust. 5. Start a new layer on top of the Basic Metal layer. 6. Using the Lasso tool, create a selection in the shape of a crack or tear and fill it with black (see Figure 8.145). Figure 8.145 Create a Lasso selec- tion on a separate layer and fill it with black. lease purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
Metal 293 7. To the black tear’s layer, apply an inner bevel to give it a little depth (see Figure 8.146). Figure 8.146 Apply an inner bevel to the tear to give it depth. Style: Bevel and Emboss Style: Inner Bevel Technique: Chisel Soft Depth: 200% Direction: Down Size: 2 pixels Soften: 0 8. With the crack still active, press Q to enter Quick Mask mode. This is where you’ll apply a dripping effect to the selection (see Figure 8.147). Figure 8.147 Enter Quick Mask mode with the crack’s selection active. se purchase PDF Split-Merge on www.verypdf.com to remove this watermark.