Week 11: Texturing

This week I worked on uving and texturing all of the props that are in the scene. This included the light polls, the bridge lamps, the Gazebo and the boat. Once I was finished texturing these items I then imported them into Marmoset. In Marmoset I applied all of the textures to the model then I duplicated and populated the scene as needed.

To texture the light poll and the bridge light I made the medal one material and then made the glass another material so that I could use it as a glass material in the rendering engine. I then added a light in the engine to mimic the light that is coming from the lamp. 

Here is my bridge lamp that is very similar. 

I then uv'd and textured the gazebo, the metal cage that completes the gazebo's dome was extremely hard to uv because there are many openings in the geometry. But I was able to work through it and it ended up looking good.   

The last thing that I textured this week was the boat that sits in the bottom left corner of the picture. I still have to add one final touch to it before it is complete. But for now it fits well in the scene. 

Here is the whole scene:

Next week I plan to tie this whole peace together and finally finish the ground plane that everything sits on. I may take my time with it depending how detailed I want the ground to mimic the ground in the painting. 

 

Week 10: Texturing

This week I did some catching up on my progress and did a lot of texturing and cleaning up of some of the main models in my scene. I also added a few touches to the church and fixed up some small problems with the textures. Then I baked all of my textures out and applied them to the models in Marmoset Toolbag.

Last week I started to clean up and fix some of the geometry problems that the priests house had. Although I already UV'd it I wasn't happy with the way that the textures came out so I redid the UV's and I think they look better and much more seamless.

Once the UVing was done I was able to set the model up for Substance Painter and get it ready for texturing. This included splitting the mesh up into separate objects so that different textures could be applied to different parts of the model.

Like for the church I had to paint the light coming from the windows in Photoshop so I could get a custom gradient that looked similar to the painting. 

Once the Priests house was finished I moved on to UVing and texturing the bridge, the stone wall, and the dock. The process to texture these objects are similar to the priests house. Because they all had the same texture, for the most part, I was able to texture them all together.

Lastly I added some finishing touches to the Church. There were some minor issues with the texture maps in substance and I added the small cross that is on the front of the building.

Here is the scene so far in the rendering engine.   

Week 9: Priest's House

This week I have started working on the Priest's house that is behind the church. The first thing that I did was retop the cylindrical portion of the building so that the building doesn't look to wavy. Then I started UVing the main part of the building.

In order to fix the geometry on the house I had to delete what was all ready there. Then I created one section of the building with the arched windows. Once one was created I duplicated it and lined them up and combined all of the objects. Then I used a function in Maya called a bend deformer that that allowed me to create a perfectly cylindrical building.

 

Once the main building was retoped I started to organize the outliner for the building. Then I was able to start UVing. I have only UV'd the main portion of the building but I plan to get the rest done soon. 

Due to university work I was not able to work on a lot of my portfolio work this week. I will work to catch up for my post next week.   

Week 8: Church Texture

This week I worked mainly on cleaning up the churches geometry and organizing the outliner. Once that was clean I then proceeded to UV the church and drop it into a texturing software where I applied the right kind of textures that matched the painting.

The first thing that I did to the church was delete a bunch of unseen faces to clean up the geometry. I then split the geometry into peaces so that I could delete certain edges to lower the face count. I managed to delete 2000 faces from the geometry. This will help with render times later down the road. 

I then organized and named all of the components of this model. The objects are grouped according to the materials that separate their UV's. I could not fit all of the objects on to one UV map, I had to use four. Therefore there are four groups.

Once that was finished I started UVing my model and unfolding all of the peaces and sections in the UV editor. Once I was finished I tried to pack a majority of the UV's into one map but that wouldn't work so I had to separate the peaces into four major maps. 

After the UVing was done I duplicated the model to create two separate models. One would act as my base mesh and the other would become my clown mesh. When created I took the separate peaces of the mesh and made them each a different color for each material that I want to apply to the house.

Once the clown mesh was created I exported both the clown mesh and the base mesh using the FBX exporter in Maya. I made sure that embedded media was on so that it would export with materials. Using the clown mesh and the base mesh I created a color ID map for textures. 

Once I created an ID map for each of the base meshes materials in a software called Substance Painter I then started to apply different materials to the model in a clean and efficient way. Using a color selection tool you can create different layers of masked materials. Some of the materials that  I used were found on the Substance share site. Once applied the finished product looked pretty accurate to the painting.

To give the windows a similar look to the painting of the building I used Photoshop and an snapshot of the windows UV's to create similar shading from the painting. 

  

I still have some small color mapping issues that I need to clean up in Photoshop. But other that that I plan on having the priests house and the bridge all cleaned up and textured by next week.    

   

  

   

  

   

Week 7: Modeling Environment

This week I have finished modeling all of the foliage that is in the painting. This included many of the bushes and the trees in the scene. Once they were completed and modeled I brought them into the rendering engine and dispersed them to the spots that needed foliage. Lastly I created the silhouette of the trees that are in the background of the scene.

When it came to the foliage there were five main bushes that I created. All of the foliage was made by using the paint effects tools in Maya. In Toolbag all I did was apply a green material to the plains because they filled the scene better than if I used a leaf texture. To add the flower I took the pedals from the flower brushes and populated the base bush I made with different flowers. 

When it came to the silhouette of the trees I used just a little bit of trickery, all I did was create a cylinder and cut it into a third section then deleted the top and bottom faces. I UV'd it and made a silhouette picture using a bunch of tree silhouettes I found online. After changing the settings and creating an alpha layer for the trees in Photoshop I was able to create a believable treeline. Then using the fog in Toolbag I was able to make it look like it was in the distance.  

Now that all of the foliage and the environment of the painting is pretty much modeled I will begin working on UV'ing and texturing the ground plain and all of the structures in my scene. I will be using Substance Painter to create the textures that will be used in this painting.   

   

   

 

Week 6: Modeling Environment

This week of modeling I started making the major trees that were in the scene that I'm creating. For this I used a software called treeit, a 3D tree generation software. I spent most of my time learning how to use the software. I then ran into the problem of creating the bushes that are in the scene this would also be a hard fix. Lastly I dropped the whole scene in Marmoset due to the fact that the tree shades work better in the rendering engine.

When I started working on the environment I wanted to start with the things in the scene that are the most prominent. So made the most noticeable trees in treeit. It was a little hard to work in the software because most of the adjustments that can be done to the trees can only be done using the sliders on the settings bar. There are no real 3D manipulation tools.    

An issue that I had in Marmoset was that the leaves on the trees came out to look way smaller than they did in the Treeit view port. The best way to fix this was to go into TreeIt and make the leave of the tree bigger. 

Once I had the main trees finished I went on to trying to create bush for the ground. Unfortunately there isn't any software strictly for making bushes. So it took me a while to try and figure out a solution to creating bushes. Then I thought about the tree brushes in Maya. If I deleted the trunks and only kept the leaves the canopy would look like a bosh. Luckly this worked so i created one of the bushed from the picture. I then went in and saw what other foliage the painting tool might have. 

Now that I have figured out a way to make more bushes and trees I plan to peace different parts of the brush presets together to look like the plants in the painting. This will hopefully help fill in some of the empty space that is in the environment.