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3D Texturing Volume 1

3D Texturing – Volume I

Matthew | August 23, 2013

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  • Price: $40.00
  • Length: 7 hours 33 minutes
  • Release Date: August 2013

3D Texturing will give you the essential skills you need to take your modeling to the next level. From film to games to medical visualization to any other CG 3D industry, this training will guide you from simple primitive objects to complex processes between Maya, Zbrush, and Photoshop. Matthew will show you how to create objects for both film and game, and clearly delineate the differences between processes. Matthew will take you through two very challenging processes. First is the high polygon to low polygon retopologizing process needed for game artists, utilizing xNormal and Zbrush for the maps and Maya for the retopo. The second, Matthew lifts the fog on a tough Maya-to-Zbrush-to-Maya process of transferring highly detailed displacement maps from Zbrush to objects in Maya. He will take you through hours of Photoshop skills needed for the texture artist, and show you how to accurately tile textures, height maps, and more from photographic references, and frequently used tools for the texture artist. If you have no experience in Maya, then I highly recommend you download and train with Matthew’s Intro to 3D Modeling in Maya before beginning your 3D Texturing training. If you have no experience in Zbrush or Photoshop, no worries, Matthew will give you the information you need in these videos. It helps tremendously to have previous experience with traditional or computer generated painting, drawing, and sculpting in clay. This training is designed to meet the needs of a 16 week semester, and is a freshman/sophomore level course. There’s 16 hours and 20 minutes of training. If you do everything this training has to offer, then this training should take you approximately 300 hours to complete. It’s my advice you start at the beginning and work you’re way toward the end. See the descriptions and sample videos below to see what’s inside Volume I.

In chapter one you will learn texturing concepts, the texture library, organizational strategies, answer “What is UV and what is a texture?”, review my UV Guides, discuss scanned and photographed references, think flat, and tips for collecting references. In Chapter two you will be able to create primitive polygon default UVs, create UVs for polygons and surfaces, projection manipulator for applying a label, camera based projection, assign shaders per projection, polygon based unwrap, create UV sets, mix UV sets, effectively use automatic unwrapping, unfold a box, stack, mirror and tile UVs, duplicate UVs, and create a multi-object UV set.

In Chapter 3: Part 1 you will be able to create a simple cubical object, model it from reference, create a texture from scanned and photographic reference, sampling from the reference, painting out highlights, preserving the overall feel of the texture, keeping proportions, and create a render scene to mimic the lighting in the photograph.

In Chapter 3: Part 2 you will be able to differentiate shading models, where and when to use a shading model, compare and contrast shading models, shaders in Maya and Mental Ray, a look at the ramp shader and mia_material_x, a thorough look at the Hypershade, and a practice session for choosing a shading model.

In Chapter 4: Part 1 you will be able to unwrap a wine bottle with labels in two unique methods and differentiate the two methods. One method target high resolution rendering and the second targets real-time rendering. You’ll be able to mix texture from multiple UV sets, effectively use UV guides to measure texture scale, use and differentiate between a ramp texture and image file for alpha blending, use and differentiate between layered texture and layered shader.

In Chapter 4: Part 2 you will be able to create color maps and alpha images in Photoshop for use in your shader tree for the wine bottle, analyze wine label structure, control selections and masks to create a wine label silhouette, icons, and frames, control the typeface of the label, crop and reuse photographic imagery, use adjustment layers, filters, and FX layers, and creating the body label for the bottle.

In Chapter 4: Part 3 you will import the color map to Maya and apply the label to the wine bottle, then continue making the neck label color texture, and the cork texture. Create the initial settings for a wine bottle glass material using reflection, refraction, and sophisticated lighting methods, add a liquid object to the bottle, and discuss render settings. Then, you will be able to create color and specular maps for the game-style wine bottle unwrap, analyze the seams of a texture and solutions for seams, how to make grunge brushes, and render in real-time.

In chapter 5: part 1 and 2 you will be able to analyze reference and prepare the reference for color sampling, create a reference sheet for use in Zbrush, and custom color palettes. You’ll learn where it is appropriate to remove highlights and shadows. Part 2 is designed for first-time users of Zbrush. You will be able to understand 2.5D Pixols, push and pull concept, brushes, layers, interface navigation, tools in Zbrush, navigation of 3d objects, masking, hiding/showing meshes, transforming and deforming meshes, and understand the various Zbrush file formats.


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