GA 3311: Materials and Lighting In this class students will be introduced to materials, textures and lighting strategies to add detail and realism to objects without adding complexity to the model. Students will simulate real world surfaces containing reflection radiosity and other effects. |
 |
|
|
JUMP TO A SPECIFIC WEEK:
|
Week 10: 3dpaint/Interactive Photorealistic Rendering
Welcome to the world of 3d Painting. Please takea look at these video tutorials using Photoshop CS4's 3d paint features:
| Click on the images below for links to Video Tutorials. This series covers how to take a 3d model from Maya (2009) and import it into Photoshop (CS4) to paint in 3d right on the surface using photos. All images and videos are copyright Andrew Klein. | |
This video series from 3d artist and educator Andrew Klein (www.andrewklein.net), shows the viewer how to import a 3d model into Photoshop CS4 from Maya 2009, and demos two techniques to add photographic information into a texture, without having to paint on the UVs. |
|
We can also use Maya's 3d paint tool. The
3d paint tool in Maya is a nice little bit
of functionality that allows us to paint texture
(as one would expect) in 3d. While its basic
features are limited, It is extremely useful
for painting over seams on your texture caused
by boarder edges on your UV map. However,
as useful as it is, it pales in comparison
to dedicated 3d painting programs such as
Deep Paint, Bodypaint, and Zbrush. In fact,
its like trying to compare MS Paint to Photoshop.
However, its worth taking a look at. You can
find the 3d paint tool on the rendering shelf,
as this icon. Select the model, click on the
icon for the 3d paint tool, and enter the
Tool Settings window to launch the preferences.
To get the tool to export textures to a usable
location, we must first set our project, specifying
a folder for 3dpainttextures:
When we first load the tool, we will notice
that our brush will not work (see that big
X below). This Is because we will need to
assign a texture to the head, which we will
do momentarily. Take a look around the brush
settings window now though. We have options
for choosing the alpha of the brush (its falloff),
its size, its color, and how it blends with
what is painted below. Note that we do not
have dynamic 3d layers, or options to paint
with photos.
To be able to paint on the mesh, we must hit
the Assign/Edit Textures button, then set
out preferences.
Once
set, we can paint. 
we can also choose to flood the whole object
with color as you see here:
Like every brush in Maya, we can also paint
based on symmetry using the stroke command.
Using Maya's Visor window, we can paint stroke
effects right onto the texture file, very
useful for painting hair, eyebrows, eyelids,
and hamburgers.
to
be able to view our updates to the model as
they will look rendered, we will now use Maya's
Interactive Photorealistic Renderer (IPR)
which will automatically update the selected
render region on each saved change that we
make to our textures.
When I choose to paint a bump map rather than
a color map, I can use the IPR renderer to
view my changes.
Skin Texturing tutorial (click on image below):
Skin Texturing tutorial (click on image below):
MAKING
EYEBALLS:
I will demo
each eyeball using a different method. For
the Right eyeball, we will use a polygon sphere,
and planar map it. The Planar map will be
given a photo-texture. The texture will be
applied as color and ambient color (but not
before toning it down with a multiply/divide
node).
Method two requires using a NURBS sphere to generate the eye. We can then procedurally
texture the eyeball using a U ramp. The fractal you see is stretched in the
UV coordiantes (just like when we made the apple) to produce the pattern we
see in the pupil.
1. 
2. 
Building
an Eyeball, tutorial A
Building
an Eyeball, tutorial B
The Cornea is a thin protective film that encases the eyeball. It can be seen prominently in image 2 above. I have built this shape out of polygon geometry so that it could be easily cylindrically mapped with an panoramic texture sample as reflected color (see image 1). The shape of the Cornea is what produces the shape of the highlights for the entire eye.
Beneath the Cornea lies the the rest of the eyeball. The white area is known as the Sclera and usually is somewhat multi-colored based on underlying feaures. Red and Pink tones will be noticeable based on veins under the outside film of the sclera. The tone of this object also varries by age, with children having a cooler, bluer white, and elderly individuals possesing a more yellowed tone.
The Front of the eye contains 2 more feaures, the Iris and the Pupil. the Iris is the portion of the eye from which we determine "eyecolor". In image 4, you can actually see how I have modeled this feature independantly, seperating it from the NURBS structure that the sclera remains, making sure to set my curvature tolerance to high or highest quality so that I do not get jagged lines between the two at render time. The Iris is a generally flat section, stopping the normal curvature of the eyeball, and actually reversing the curve somewhat and bending inward! The Pupil bulges slightly again, and changes size based on available light in the process we know as dialation.
JUMP TO A SPECIFIC WEEK: |
