Advanced Maya Texturing and Lighting- P6

Advanced Maya Texturing and Lighting- P6: I should stress that I am self-taught. In 1994, I sat down at a spare seat of AliasPowerAnimator 5.1 and started hacking away. After several years and various trials byfire, 3D became a livelihood, a love, and an obsession. Along the way, I was fortunateenough to work with many talented artists at Buena Vista Visual Effects and PacificData Images. In 2000, I switched from PowerAnimator to Maya and have since loggedtens of thousands of hours with the subject of this book....
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Advanced Maya Texturing and Lighting- P6Mastering the Blinn Materialyou can adjust a Blinn material to emulate a wide range of surfaces. in this section,steps for achieving wood, metal, and plastic using common map attributes are detailed.to simplify the demonstration, a single bitmap texture, rusty.tif, is used in each case(see Figure 4.30). (For details on creating glass, water, and ice, see Chapter 11.) 129 ■ M A S t e r i n g t h e B l i n n M At e r i A lFigure 4.30 A noisy, dirty, rusty bitmap texture that can be applied innumerous ways. This bitmap is included on the CD as rusty.tif. Before i discuss specific texturing examples, a quick look at placement utilitiesand naming conventions is necessary. the 2d placement utility is connected automati-cally to a shading network when a material’s checkered Map button is clicked andany 2d texture is selected from the Create render node window. if a 3d texture isselected from the Create render node window, a 3d placement utility is connectedautomatically. Both utilities control the uv tiling of the texture. At the same time,MMB-dragging a 2d or 3d texture into the hypershade work area automaticallyconnects the appropriate placement utility. Materials, textures, and utilities, once connected to a shading network orMMB-dragged into the hypershade work area, pick up a new naming convention.For example, a 2d placement utility may be named place2dtexture1. in general, thespelling and capitalization will vary slightly. this applies to attributes as well. Forexample, the out Color attribute may appear as outColor or blinn.outColor whenconnected to a shading network. For the purpose of this chapter and Chapter 5, i will use the full name of thematerial, texture, or utility as it appears in Create Maya nodes menu and Create rendernode window. in addition, i will use the full attribute name as it appears in the corre-sponding Attribute editor tab. Starting with Chapter 6, however, custom connectionsare covered in great detail, and i will use the specific node and connection names. Re-Creating Wood For realistic wood, it’s best to use an actual photo or scan. however, if a decent photo or scan is not available, you can generate the illusion of wood grain by adjusting the uv tiling of an otherwise inappropriate bitmap. For example, in Figure 4.31 rusty.tif is loaded into a File texture, which in turn is mapped to the Color attribute of a Blinn material (named Wood).130A p p ly i n g t h e C o r r e C t M At e r i A l A n d 2 d t e x t u r e ■ Figure 4.31 (Top left) 3D wood. (Top right) Reference photo of wood. (Bottom) Wood shading network. This scene is included on the CD as wood.ma. the Blinn has the following custom settings: Diffuse 0.95 Eccentricity 0.35 Specular Roll Off 0.22 Specular Color light orange the File texture’s 2d placement utility has the following custom settings:4:chapter Mirror U On Mirror V On Repeat UV 0.25, 14 Rotate UV 70 Noise UV 0.001, 0.001 the noise uv attribute creates subtle distortions in the File texture, makin ...