2D Artwork and 3D Modeling for Game Artists- P11

Tham khảo tài liệu 2d artwork and 3d modeling for game artists- p11, công nghệ thông tin, kỹ thuật lập trình phục vụ nhu cầu học tập, nghiên cứu và làm việc hiệu quả
Nội dung trích xuất từ tài liệu:
2D Artwork and 3D Modeling for Game Artists- P11 This page intentionally left blank Y FL AM TE ® Team-Flylease purchase PDF Split-Merge on www.verypdf.com to remove this watermark. CHAPTER 12 Skinning the Slogre with Deep Paint 3D and Photoshopse purchase PDF Split-Merge on www.verypdf.com to remove this watermark. 476 12. 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.lease 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 chap- ter, 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. 1. 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 ele- phant 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.se 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. 2. 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 shad- ing from the intense heat generated by the twin-sun solar system from which the slogre originates. 3. 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 reptil- ian. 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. 4. Backpack. During my initial discussions with Lars about the look of thi ...