Here are the rest of the props that I textured for our Unity game. I often would use materials that I made in substance designer such as the holographic glass, speckled plastic, and brushed aluminum. I always added a thin layer of dirt to every object to add roughness variation. I also added scratches when necessary; especially for metal pieces. Emmissive maps were used throughout on most items to add to visual continuity. Grime was added to items that made sense – like the soda machine, popcorn machine, and condiment dispensers.
Overall I learned to keep a quicker pace this time around and am still curious what makes a “perfect” texture job. Like, what makes a great texturer from an okay texturer?
Lastly, because I remember you mentioning it eaerlier in the semester, I’ll talk about how much work my teammates did in comparison to each other. Overall, we all worked very hard on this project. I personally believe Trey and Nichole put in the most effort into this project, as I saw them in the lab more often than me and Van. Van ended up spending more time in the lab in the later half of the project, but she was always consistently working throughout it. I would continually work on the project everyday, but I would go to bed earlier than my partners. Van, Nichole, and Trey were all able to stay up very late working in the lab (often times around 3 or 4:00 in the morning) where as I would try to go to bed by 2:00-3:00 each night. Once again, I think Trey and Nichole put in more effort than me and Van did. I (maybe pessimistically) think I put in less effort than everyone else, but I don’t regret getting more sleep each night and I am proud of how hard I worked on this project.
In the end, I textured every asset that I needed to texture. I UV mapped the majority of the assets, I created the greyboxes with accurate prop dimensions (all the research included) and I was eager to plan and discuss the project in its beginning phase.
So for this project I knew that I couldn’t put it on my portfolio, so I used it to learn a few new things.
I used UDIM to utilize 6 UV spaces instead of 1. I Also created all of my materials in substance designer and brought them into substance painter for tweaking and adding details.
I wanted to create a rendering of my finished project but the added textures took such a long time to bring into the viewport that I gave up. UDIMs seem great, but add a lot of time to saving projects and importing textures. The scale and eye I created in photoshop.
My substance painter tutorial: painting K2SO from Rogue One. It was very fun, and the biggest headache was selecting individual polygons for black masks. I made a couple renders, one with normal black paint and one with BB-8 Colors.
My substance designer tutorial showed me how to bake maps from meshes. Now that I know how to do that, I am one step closer to creating a solid designer/painter workflow.
BIG UPDATE. I have done a lot of texturing in the past few days. I ended up spending more time on the guitar antique than I should have (3 hours) but it was fun, and it looks good. The antiques have been the most fun to texture because dirt and scratches always add character. I have been a lot better this time around about not using the generic dirt generators in substance painter. I create my own black masks with a mixture of painting, procedurals, and smart masks.
I typically start texturing a mesh by baking additional maps like curvature, ambient occlusion, and thickness. Then I create a “base” layer (plastic, metal, wood). I spend a lot of time using black masks to paint in different materials on different parts of the mesh. I then add scratches, dirt and dents. I typically use an environment map with neutral lighting, such as any of the studio environments.
With some props I have specific reference to work with – like the guitar and camera. Because some of the props my group modeled used specific reference pictures, I am able to look at the same reference pictures to help my texturing.
Sometimes I try to pace myself and I end up forgetting scratches, or forgetting to bake the additional maps. Time management is the hardest part of this project.
Here I have begun texturing and creating materials for our assets. Just a day ago we decided to change our pipeline. Instead of individually texturing each object, we are now going to create substance materials (.sbsar files) to drag and drop onto different pieces of the mesh inside of unity. We will have to re-export our models with different materials applied to them from inside of Maya or Max.