AAA CLOTH­ING GUIDE

Fol­low­ing on from part on of our tu­to­rial in is­sue 122, learn how to un­wrap UVS and tex­ture char­ac­ter cloth­ing

3D Artist - - FRONT PAGE -

We are con­tin­u­ing our three-part se­ries on the skele­ton, props and en­vi­ron­ment for this pi­rate scene. as you re­call in part one, we left off by com­plet­ing our Pi­rate Pris­oner’s cloth­ing mesh and Zbrush de­tailed sculpt. We then dec­i­mated our meshes and ex­ported the OBJ files mak­ing them ready for uv lay­out. so that’s where we will be­gin with part two.

now, we will un­wrap all of the as­set uvs and set up the ap­pro­pri­ate udim file sets to pre­pare our meshes for smooth im­port­ing into sub­stance Pain­ter. once in sub­stance, we’ll as­sign base ma­te­ri­als to each of our meshes and be­gin adding lay­ers of dirt and grunge de­tails to give our char­ac­ter’s cloth­ing the worn, aged and dis­tressed look you would ex­pect of a cen­tury-old weath­ered skele­ton, left to rot by his cap­tors.

01

Use Un­fold3d The first thing to do, once you have com­pleted your sculpt, is to pre­pare your uvs. To do that for our pi­rate char­ac­ter, we are go­ing to use un­fold3d, which is a soft­ware used to un­wrap dif­fi­cult uvs.

first, you will im­port the low-poly meshes into un­fold3d. go to file, se­lect load, and lo­cate your project folder.

We will be­gin with the shirt, so se­lect the shirt_low.obj, and open the file.

02

Cut shirt seams To be­gin, se­lect edge mode on the right-side panel. se­lect the edges of the shirt man­u­ally. By us­ing this method, we will have much bet­ter con­trol over the uv un­wrap­ping. We’re go­ing to cre­ate a slice up the side of the shirt, then un­der the armpit, down the sleeve and through the wrist cuff. once com­plete, do the op­po­site side of the shirt the same way. This will sep­a­rate the shirt into two pieces, the front and the back.

once in sub­stance, we’ll as­sign base ma­te­ri­als to each of our meshes and be­gin adding lay­ers of dirt and grunge de­tails to give our char­ac­ter’s cloth­ing the worn, aged and dis­tressed look

03

Op­ti­mise and pack UDIM tiles once you have cut and laid out all of the cloth­ing, save your file. We’re now ready to op­ti­mise the uv is­lands and pack the se­lected parts onto unique udim tiles.

Cut parts have been pro­vided, if you chose to jump right into this step. go to file>load uv and se­lect file: Pi­rate­cloth­ing­com­plete_low.obj. You’ll no­tice all the uvs ap­pear on one udim tile. in order to cre­ate the three cloth­ing sets we want for tex­tur­ing in sub­stance, we will cre­ate two ad­di­tional tiles. Press P on the key­board to pack the uv is­lands into the three udim tiles.

04

Lay out UDIM tex­ture sets The is­lands are laid out nicely but the shirt, pants and ac­ces­sories uvs are scat­tered onto each udim tile, which would be a night­mare in sub­stance. re­or­gan­ise each tile to con­tain one ar­ti­cle of cloth­ing: shirt, pants, ac­ces­sories. se­lect all shirt pan­els in your 3D view­port us­ing ‘is­land se­lec­tion mode’. Press g to group the se­lec­tion.

Do this for all three cloth­ing selections. once you have three groups, Pack once more and the is­lands will pack the udim tiles prop­erly. You may need to man­u­ally ad­just some shells to fit into the tiles more ef­fi­ciently. Press s to save your file.

05

Set up Sub­stance in sub­stance Pain­ter, you will open the low-poly OBJ mesh. go to file>new then, in the new project panel, click on se­lect. lo­cate project file: Pi­rate­cloth­ing­com­plete_low.obj. se­lect: Cre­ate a tex­ture set per udim tile.

Be sure set­tings are on Directx and Doc­u­ment res­o­lu­tion is set to 2048. Press ok.

in order to cre­ate the three cloth­ing sets we want for tex­tur­ing in sub­stance, we will cre­ate two ad­di­tional tiles

06

Set up and bake nor­mal maps With the skele­ton file open, you can see that the back­faces are not be­ing ren­dered. To turn on both sides of cloth­ing, change shader set­ting to ‘Pbr-metal-rough-with-al­pha-blend­ing’. Watch the video pro­vided to see de­tailed process. To set up maps for bak­ing go to the left panel mesh maps and click on ‘Bake mesh maps’. We only want to set up and bake our nor­mal map first, so click on none to turn off all maps. Then choose just the nor­mal map. here are the set­tings to cre­ate maps for all three udim tex­ture sets: out­put size: 2048

Di­la­tion width: -1

Click on high Def­i­ni­tion Meshes icon to open file: Pi­rate­cloth­ing­com­plete_high.obj

Use Cage: off

Match: By mesh name an­tialias­ing: sub­sam­pling 8x8 se­lect: Bake all tex­ture sets

07

Set up and bake other maps for the setup and bak­ing of all other maps, we’ll use the same setup with a few mi­nor changes. once again, choose Bake mesh maps. This time, se­lect all, then turn off nor­mal and id. Change your set­tings for am­bi­ent oc­clu­sion and Thick­ness. ap­ply these set­tings to cre­ate maps for all three udim tex­ture sets: tex­ture set: ap­ply to all se­condary rays: 256

Minimum oc­cluder Dis­tance: .001 self oc­clu­sion: only same mesh name an­tialias­ing: sub­sam­pling 2x2 se­lect: Bake all tex­ture sets

08

Get started tex­tur­ing the shirt With all maps baked, we can be­gin tex­tur­ing. We’ll work on the shirt in this tu­to­rial. im­port the smart ma­te­rial pro­vided in the fab­ric_shirt project folder. To lo­cate the ma­te­rial, en­ter ‘fab­ric’ in the search panel of your shelf. make sure you are on Tex­ture set 1002, which is the shirt udim tile. Drag the fab­ric_shirt ma­te­rial to the lay­ers panel in the top right. Then, open the folder and you’ll see fab­ric_base. By se­lect­ing on fab­ric_base layer, you can make changes be­low in Prop­er­ties, such as in­creas­ing the uv scale to make the can­vas tex­ture larger or smaller.

09

Ap­ply first dirt layer To be­gin adding dirt and dis­tress on the ma­te­rial, du­pli­cate the base layer by se­lect­ing it and press Ctrl+d. now, se­lect the new copy layer and right-click to se­lect add Black mask. on the Black mask, right-click and add gen­er­a­tor. Then click on gen­er­a­tor and se­lect Dirt. se­lect fab­ric_base, copy layer once again, right-click and add fil­ter. Down be­low, click on fil­ter and add hsl Per­cep­tion, which is sim­i­lar to hue/ sat­u­ra­tion in Pho­to­shop. ad­just light­ness slider first. slide left to darken the colour, and you will see the dirt start­ing to show up. next, in­crease the sat­u­ra­tion to punch up the colour strength a lit­tle. Con­tinue ad­just­ing the dirt: click on Dirt layer, go down into Prop­er­ties and play with Dirt level and Dirt Con­trast slid­ers to ad­just the dirt. next, ad­just the grunge amount slider.

10

Add se­condary grunge layer add a fill layer on top of fab­ric_base copy1. first, in­crease the rough­ness slider to around .9, then change the colour to a darker olive Drab green. next right-click and add a grunge by en­ter­ing in search win­dow. se­lect grunge_s­tain­s_large_hol­low, for ex­am­ple, and play with the uv scale set­tings. You have learned the ba­sics of how the dirt and grunge fil­ters work. You can con­tinue by ex­per­i­ment­ing and play­ing with dif­fer­ent maps or ad­di­tional lay­ers.

11

Paint man­ual de­tail layer add al­pha map rust_de­cal_ al­pha_03. Click and drag it to the grunges shelf. Then choose ‘al­pha’ in the drop-down menu. on the lower panel drop­down choose: project Pris­oner Cloth­ing Tut. it will show up in your shelf in sev­eral lo­ca­tions, both the al­pha shelf and the Project shelf. The sten­cil will show up on your 3D view­port. You can eas­ily move the cloth­ing around. us­ing white colour in your brush, paint the drip tex­ture onto your shirt. You can eas­ily ro­tate the sten­cil, or scale it, find­ing your de­sired po­si­tion for adding strate­gic spots or grunge drips to the shirt.

You can eas­ily ro­tate the sten­cil, or scale it, find­ing your de­sired po­si­tion for adding strate­gic spots

12

Tex­ture the sash & ban­dana Click and drag the smart ma­te­rial fab­ric_­di­a­mond (in pro­vided files) to lay­ers and it will ap­ply to the mesh. re­move the ma­te­rial from all other ac­ces­sories ex­cept ban­dana and sash meshes by click­ing on your ma­te­rial layer, then right-click to add Black mask. now, the fab­ric_­di­a­mond ma­te­rial is gone. To bring the ma­te­rial back, choose the mesh fill tool and se­lect just the meshes you want. next, add am­bi­ent shad­ow­ing to add depth to the ma­te­rial. Cre­ate a fill layer on top of the fab­ric ma­te­rial. right-click and add a Black mask. right-click on the mask and add a gen­er­a­tor. in Prop­er­ties, be­gin ad­just­ing the con­trast slider to add more or less shadow depth to the fab­ric. To dirty it up, add some grunge. Change the colour, and even add ad­di­tional grunge al­phas, to en­hance the fi­nal dirt­i­ness and dis­tress.

13

Pre­pare tex­tures for bak­ing With all tex­tures cre­ated, you are ready to ex­port your maps. Change names of your Tex­ture sets to Prison­er­cloth­ing_1001, Prison­er­cloth­ing_1002 and Prison­er­cloth­ing_1003. To ex­port, go to file>ex­port tex­tures. se­lect your desti­na­tion folder and choose se­lect folder. un­der Con­fig, choose un­real en­gine 4 (Packed). That will give you the stan­dard Colour, nor­mal and orm maps. You have no emis­sive tex­tures for this so you won’t gen­er­ate emis­sive maps. fi­nally, make sure to set the map type to Targa and 2048 size. se­lect ex­port. now, in your folder, you will find all of your baked tex­ture maps in their proper fold­ers.

14

Cre­ate dis­tressed al­pha map us­ing Pho­to­shop, we ap­ply al­pha stamps to the shirt tex­ture to cre­ate more real­is­tic holes and tears. start by open­ing the shirt colour map. go to file>pris­oner Cloth­ing al­phas folder and se­lect Prison­er­cloth­ing_1002_c.png. re­move all colour from this map so you have only black-and-white pan­els. Press Ctrl+l to open the level edi­tor and slide the right side but­ton to the left, un­til your pan­els be­come pure white. a value of 27 should work fine. Press ok. Cur­rently, the holes are very sim­ple and smooth. se­lect the layer and cre­ate a mask. Do all of your work on a mask so it’s not de­struc­tive to the orig­i­nal map layer. load the pro­vided al­pha brushes into Pho­to­shop and then se­lect one of the al­phas to use. here, we are us­ing al­pha Brush #327. next, make sure you have 100 per cent black se­lected for your brush and be­gin stamp­ing the al­pha along the smooth edges to give them a torn look.

Change the colour, and even add ad­di­tional grunge al­phas, to en­hance the fi­nal dirt­i­ness and dis­tress

15

Ex­port al­pha chan­nel Con­tinue adding al­pha stamps through­out your map. in case you re­moved too much ma­te­rial, sim­ply change your al­pha stamp colour to white and stamp to add more ‘shirt’ back to your shirt. once you are fin­ished stamp­ing, the last step is to com­bine the al­pha with your colour map. Copy the al­pha with Ctrl+a to se­lect all, then Ctrl+c to copy. open a new copy of Prison­er­cloth­ing_1002_c.png. go to the chan­nels and add al­pha from the drop-down menu. Ctrl+v to paste your al­pha. now save your file (Ctrl+s) as a Targa file 32 bit with al­pha Chan­nels but­ton se­lected.

16

Fi­nal in­spec­tion and re­view Well, there you have it. mar­velous De­signer com­bined with Zbrush and tex­tured with sub­stance Pain­ter make a win­ning com­bi­na­tion of pro­duc­tion tools to turn out awe­some high-cal­i­bre dis­tressed cloth­ing. i’ve cer­tainly adapted these tools into my daily work­flow and hope you ben­e­fit from us­ing them the same way.

17

Sup­port videos Wow… this was a mon­ster of a tu­to­rial to cre­ate. When i first came up with the con­cept, i knew con­vey­ing all the in­for­ma­tion nec­es­sary would be chal­leng­ing, but fit­ting every set­ting and de­tail into the printed page is one of the more dif­fi­cult parts of creat­ing ef­fec­tive tu­to­ri­als. There­fore, i gave you a bunch of sup­port videos to help demon­strate some tech­niques that were too dif­fi­cult to put into words. if you would like ad­di­tional help and step-by-step train­ing please check out our video course on­line at: 3Dtrain­ing­work­shop.com.

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