Fireplace PBR – texturing and baking the assets.
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Now that most
of the scene is complete, I can begin texturing assets.
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This is
going to be a process that will have a steep learning curve, but once I
understand the general order will go by very quickly.
Brick’s Texturing:
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Below is
a collection of screenshots taken at various intervals of my process with the
bricks:
1. I created a basic stone texture
following the tutorials on Blackboard, which was adding in a cavity and edge
filter, along with a lighting layer
2. I also added a subtle colour
change for the walls to try and separate them from the floor - this is
obviously procedural so I can adjust the final colour to fit with the room
more.
3. I wanted to add some wear to the
bricks, and a prime area for this was the area where the fire texture would be.
I made this a semi shiny black material with some height variation to mimic scorched
stone.
4. I wanted to show the age of the
surrounding bricks also – so using dripping rust layer filters I made a layered
moss effect, with a darker, more precise layer and a darker “shadow” layer with
some subtle blur on.
5. To constrain the locations of the
moss to be around the tree and the back of the scene, I used a position mask on
a front to back filter to fade the moss at the front.
6. This image shows a baking error I
got at the front of the scene, where the bricks on the edges of the floor had a
lot of chunky errors at the cracks of the stones.
7. To fix this, I enlarged some of
the stones on my high poly in the problem areas to help patch the gaps that
caused the errors. This worked to remove all the baking problems.
8. I then imported the bricks texture
into my Max scene – where it had some great contrast against the wood textures
that I will touch on next.
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Brick Modelling, retop and unwrap |
Texturing wood assets:
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I had a
sheet dedicated to the wood assets in my scene, and so I textured them all at
the same time.
1. I did a basic pass using a base
fill, some edge highlights and cavity low lights like described in the
tutorials on BB.
2. this did it for the most part -
but I had to highlight the ends of the firewood logs since they would be open.
to do that, I did a basic painted filter fill on the ends and added a mid-tone
cavity colour to keep the shape at the end and to make the transition between
the bark and the centre wood a little softer.
3. I used the polyfill tool to mask
the dirt areas of the plant pots out and gave them a two-toned dirt layer. 1
layer was just a basic fill, and the second was a slightly faded version made
using a brush which then had a height added to it to make it bumpy.
4. I decided to go for a terracotta
plant pot - since there would be so much wood in the scene already, and I did
not have individual planks on these pots they would look better as simple pots.
these had a similar brushed on height map to give the slightly uneven, bumpy
texture, and they were a little less rough than the wood for some contrast.
5. I added a small shadow to the
curvature of the pots to accentuate their shape – but this will mostly be
hidden by the foliage.
6. Next came the metal. Throughout,
I knew that I wanted the metal to be a dark, cast iron kind of metal, so I
started with that base on both the table legs and the plant pot hangers. I
would have made this the only instance of metal in the scene, but I did not think
this would fulfil the brief’s requirement for the material on its own.
7. I decided to make the table legs
metal because the scene was very much just wood, and I thought that material
might add some breakup to the scene. originally, I wanted the table legs to
have moss growing up them, but I could not get the rust to work as well as the
bricks. So, I opted to just added some wear to the metal, making the material a
bit more dynamic.
8. This was my wood materials all
together now. I considered adding a warm mustard gradient colour as an overlay.
9. I added the mustard colour
gradient overlay, and I enjoyed how it made the scene’s colours appear a lot
richer, so I kept it. It also helped break up the long pillars at the back of
the scene, since the gradient worked a world position height map.
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Wood assets texturing process |
Tree + window textures:
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This is
the process of texturing my main asset for the scene – the tree with the window
that will make the lighting from the scene a lot more dynamic and interesting.
1. I unwrapped the tree asset since
I was certain that asset was ready to be textured and baked since I had
sculpted the high poly.
2. I kept the UV islands mostly
based on what was most visible to the viewer at a time – so keeping the front
of the tree all together and the back together.
3. After collecting reference on
what bark materials look like, I started creating my tree texture. I decided
that since the original name for my project was "Tree of cinder", I
wanted to see if I could make it look like that with the help of cavity
masking. I also added in the dark soot at the back of the tree, to mimic tree
char and to show this tree has been here and been used a lot over that time.
4. I adjusted the tree char to be a
lot less rough than before, as I noticed that once burned tree bark becomes a
glossy material. This helped separate the tree bark to the char quite nicely
overall. At this point, I saved the tree texture as a smart material.
5. After receiving crit from a
lecture session about my windows, I combined the panes together so that the
windows would be a lot easier to texture and bug fix later.
6. I realised I should texture my
tree and windows together as I did my initial texture sheet planning out the
various textures within the budget, so I unwrapped the tree again with the windows
this time. I prioritised the filling of the sheet and maximising of texture
space with this sheet iteration.
7. Focussing on making the sheet
full meant that I broke the mesh up a lot more – which made a lot of problems
in the bake. Specifically, I believe the scale of the UV islands was off, so it
made the bake uneven in resolution.
8. I unwrapped the tree and windows
again, this time keeping the sections together to avoid visible seams. This led
to some more wasted space – but it fixed baking errors on the mesh.
9. since the windows were coming
along nice and vibrant, I thought it might be a bit detracting having the tree
glow too, so I instead converted the texture of the glows to be moss and used
the rust drips generator to add more to the bottom. The windows were made into
panes by a hand painted mask on the mesh, and the mask was applied onto a
folder group that would control the frames of the windows. The mask was then inverted
and applied to another group which controlled the windowpanes separately.
10. I then added a dirt pass with
some height just to try and get the bark to look a bit more rugged, since it
looked very smooth and stylised. I also added a gradient on the tree to darken
the top, but I made it wat too dark overall.
11. Here was the gradient softened.
12. I made some changes since then to
the windows, really accentuating each frame and after looking at reference I
noticed that stained glass is never perfectly smooth, they have small waves in
the surface. I also noticed that old stained glass gets small dirt build-up
next to the metal framing for each pane, so I added in a dirt (which was just a
brownish blur of my frame mask with some sunk in height (to accentuate each
pane) and I lowered the roughness on the edges so there was more of a
distinction.)
13. After using a video for research (https://www.youtube.com/watch?v=5igvXjMM4Nc&ab_channel=NinaShaw-GameArt)
I was able to find the opacity channel, so I could lower the opacity of the
windows easily. It also meant I could make it only lower the opacity of the windowpanes
themselves, so the frames stayed opaque which looked great.
14. This was a close on the windows
now, which really shows the difference changes on the textures between the
frames and the glass panes.
15. This was the final window
material set up.
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Texture sheet plan – V1 |
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Mood board made for bark references |
Narrative props texturing:
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This is
the last stretch of texturing and covers the smaller assets in the scene that
are mostly unique/only appear once.
1. The ropes looked like this - a
little crunchy but getting the rope material to work was quite a pain so I am
ok with this.
2. The ceiling was literally a
colour, and then a dirt generator on top. the basic settings worked perfectly
because the plane for the ceiling is upside down which was a happy accident.
3. I created this pattern out of 3
different alphas supplied by substance and used a fibres alpha for some basic
rough up. I then added an anisotropic filter into the height, making this nice
woven looking texture. I also added a new crease height modifier that would
make the fabric look a bit more organic.
4. I then lowered the brightness of
the orange colour since it looked quite garish and would allow you to see the
texture a lot easier.
5. I added the opacity map - which
unintentionally made these nice little tassel style frays to the bottom that I
think I will keep. I believe this was because the layer with the fibre texture
was above the opacity mask – so the individual tassels came through.
6. I textured my books - using a
marble vein procedural map in substance to create the worn leather bends, which
were both sunken in and less shiny than the surrounding leather. I used the
same Celtic butterfly pattern from the cloth with a metallic silver colour in
the trim areas too to add some variation to the book.
7. I added a subtle dirt swipe
texture using alphas from substance painter and changed the colour of the lower
book from red to brown. I then used the metal edges generator added some
lighter distressed edge wear to the books; I tried to tone the edges more yellow
on the green book, since if it were being worn back to normal leather it would
head towards that colour in the spectrum.
8. I removed the vertical lines in
all but the bottom trims for the covering since I thought that it was too noisy
and distracting.
9. final touch - I added a blue emissive
to the runes on the book to make it appear more magical. I can adjust the power
of this later in engine with a multiply.
After
doing my textures, I looked at my original plan for the UV’s again and adjusted
the sizes of the maps to better fit the importance of the assets.
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Texturing of narrative assets |
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Texture sheet plan – V2 |
Final Conclusions:
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I am
overall happy with the progress this post – The end of the project is very much
in sight now and I can experiment now with importing this into Unreal!
· Next step will be finalising the project in unreal with particles, materials, and lighting!
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