May 08, 2020

Fantastic Voyage - Texturing my Models

I found the UV mapping process easier compared to previous projects, learning from mistakes and applying logic. A better understanding of UV's benefitted the finalised textures I produced, as distortion and mistakes are minimum and disguised. My texturing methods have also greatly improved from previous because I experimented with bump maps, benefitting my model renders.

Once I had snapshotted my UV maps, I brought them into Photoshop. When creating my textures, I found it necessary to implement photographed material in order to give them more substance; my models are stylistically simple and therefore require effective, detailed textures. Therefore, along with digitally painting and layering colours, I overlaid photographs of fabrics, rusted metal, tree bark etc. This will hopefully alleviate the 'flatness' shown in my PreVis. For my Ranger character, I tried to be reflective when creating his textures to help imply narrative. This can be seen in the mud on his shoes and the material bleaching on his cap and shirt.

I took my time with rendering my finalised models, as I wanted my textures to be presented effectively. I was also able to adjust surface settings more appropriately as my understanding of the 'Attribute editor' has greatly improved from tutorials and video lessons. I stuck with an Arnold 'Skydome' light for most of my rendered images, as it seemed the most generic. When I needed more defined shadows, I used a directional light. I'm happy with my rendered model outcomes and relieved that my textures compliment my modelled work. I'm now able to visualise a final animated product, and I feel confident that the end result will articulate the styles and themes I have shown through conceptual work.

The Ranger

This model was the most enjoyable to texture, mainly because it finalised the process of creating my first original 3D character prepared for animation. Initially, I wanted my models to have limited texture, but this looked unimpressive in my PreVis. When experimenting with photographic textures, I liked the 'collage' effect that realistic fabric had on my cartoon character, reminding me of the 'Little Big Planet' aesthetic. I decided to continue with this idea, as it gave my models a tactile finish that felt more complete as opposed to block colouring. Bump maps helped to give this model some dimention, and I really like how the shirt and hat turned-out with the assistance of this technique.

UV Maps

Photoshop Textures

Bump Maps

Finalised Model

The Mushroom

I modelled two variations of a fruiting mushroom, one as a young button and the other as fully mature. This required me to texture the models separately, resulting in a more dynamic 'life cycle' representation, as I could communicate change through colour and texture along with shape and formation. The texturing process for my mushroom models was relatively straightforward, and I achieved successful results from a simple photoshop gradient overlaid with a paint splatter texture. I aimed to reiterate the textures I created in my orthograph drawings and I think this was a success. I decided not to use bump maps for the mushroom, as their natural material is matt and smooth.

UV Maps

Photoshop Textures

Finalised Models

Tree Model

This model was a challenge to texture because of it's unique shape. Creating seams for the models UV's was frustrating and I couldn't create a map that didn't look distorted. I decided to use the 'map by camera' unfold option, creating a UV map that only works from the angle of the camera. This wasn't ideal, but my tree model will only be required from one continuous angle anyway. Similarly to my ranger character, the bump mapping was very effective as emphasising the textures of tree bark. I was also able to eliminate the bump map around the spray paint, keeping it highly saturated.

UV Maps

Photoshop Texture

Bump Map

Finalised Model

Spray Can

This was another model I found easy to texture; its simple geometry resulted in easy UV mapping, and its metallic material meant I didn't need bump maps or ambitious material settings. I took this opportunity to play around with the pre-sets within 'aistandardsurface', and found the chrome material the most effective for the bare metal accents of my spray can. I tried to capture the material attributes of the can through lighting in my rendered images. Creating the textures was also an enjoyable process, involving the same splattered paint overlay as mu mushroom models, helping to create consistency and a cohesive style.

UV Maps

Photoshop Texture

Finalised Model

Spore Model

With such simple geometry (three lattice deformed spheres), the UV mapping for this model was effortless. Unfortunately, the 'layered' structure of this model makes the deeper textures hard to see in rendered images, and I struggled with lighting settings to find a suitable set-up. Even in the rendered images, the deepest texture is hardly visible, which is unfortunate. However, I was able to explore the attributes of each material and overcome this obstacle. I found a unique effect from playing with the IOR of the main sphere, which refracts light uniquely. Hopefully, the strange formation and materials of this model won't cause trouble in my final animation. Similarly to my mushroom models, I decided not to use bump mapping as the materials met requirements without additional texturing.

UV Map

Photoshop Texture

Finalised Model

Hyphae and Mycelium

I was concerned that the distorted shape of these models would cause problems when UV mapping, but they unfolded easily as cylinders. I used the photoshop textures to disguise some obvious seams, mainly the transition from Hyphae to Mycelium, which I achieved by using a smooth, low opacity brush to create a gradient on the texture transition. Yet again, I avoided bump mapping, as a smoother material suited this model better, and the high shine suggests 'slimy' characteristics. I also continued using the paint splatter texture, helping to distinguish the anatomy of my mushroom from the rest of my animation (anything relating to fungi is textured with this pattern).

UV Maps

Photoshop Textures

Finalised Models

Basidium

This was another model I found straightforward to UV. I decided to create two sets of textures for this model, one for a variation without spore tendrils, and one with. This additional detail made the textures more effective, as they weren't being recycled to fit improperly. The paint splatter overlay helps to disguise some of the obvious seams, meaning I'll be able to create dynamic shots of this model for my final animation. I avoided bump maps for this model once again, as I was concerned the 'grimy' effect of this mapping would clash with the dark and busy matte painting background.

UV Map

Photoshop Texture

Finalised Model

Train Models

I modelled two carriages for my train, enabling me to duplicate them and form a full-length vehicle. This also meant I had to create two separate texture files. This enabled me to vary the graffiti visible on the side of the train, helping to reduce the look of duplicated carriages. Similarly to my tree model, I used photographed textures to help give the model a more realistic material. I chose a grainy rusting metal, which I blended with a simple grey and hand-drawn graffiti. I also created some very simple window silhouettes. I tried to keep the textures bold and simple, as this model will be visible at a high speed. I decided to use bump maps on both carriages in order to emphasise the grainy metal material and to create some indentations within the windows (suggesting level changes).