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.
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.
So The past few days I have been mostly UV mapping. Here are all the assets I UV’d.