Its going to be a fairly long update…Reason its near completion =)

Lets get started with how this Samurai Helmet begin!

Fig 01 Indicates sets of UVs needed for the Geometry by assigning different color on it,giving an idea to Texture Artist – LookDev Artist – Lighting Artist and even Lead/Supervisor knowing how the Geometry is partly separated. A good practice to keep with individual during UV Unwrap stage.

There are 14 sets of UVs prepared for the Samurai Helmet. Once finished Unwrapping the Geometry,UVs were laid in tiles in UV Editor Fig02.

Reason –
*To check is there UVs overlaying on top of each other*

*Allow a bit of border on each side of the UV sets in its on UV space,this is to make sure Various Maps prepared are not cut off from it*

*Always remind oneself to recheck the UVs over and over again to make sure it is perfect. A Fatal mistake can cause big trouble,revising UVs in middle of Lookdev is a big mistake*

Once the UVs are checked and locked down,usually Ill have two separate files. Tiled UVs and One with all UVs placed in 0-1 space.

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A little tips here moving UV Sets around without dislocating the position in its own UV space.

Mel Script

Moving UV Sets to Right (Example from 0-1 space to 0-2 space)        – polyEditUV -u 1 -v 0 ;

Moving UV Sets to Left (Example from 0-1 space to -1 to 0 space)     – polyEditUV -u -1 -v 0 ;

Moving UV Sets to Up (Example from 0-1 space to 1-1 space)            –  polyEditUV -u 0 -v 1;

Moving UV Sets to Down (Example from 0-1 space to -1-1 space)      –  polyEditUV -u 0 -v -1;

There are a few tools and ways to Unwrap UVs. RoadKill was used particularly for Samurai Helmet because it helps to Unwrap nicely and uniformly. Especially Hard Surface object,compared UV Layout is more useful on Organic object I find personally.

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Another Tips here ”Selecting Hard Edge” Mel Script

This is useful personally when dealing UV Unwrap with RoadKill.

string $selEdges[] = `ls -sl -fl`;
select -cl;
for ($edge in $selEdges)
{
string $edgeInfo[] = `polyInfo -ev $edge`;
if (`gmatch $edgeInfo[0] “*Hard*”`)
{
select -add $edge;
}
}

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Moving on to Texture Maps created for Samurai Helmet. As listed below are the 8 different Maps used –

DSPA – Displacement Map A *Displacement Map A is Warped Map,either High/Low Frequency of Fractal Noise map to create uneven look on Hard Surface’s Surface*

DSPB – Displacement Map B *Displacement Map B is where details added for the Geometry. For Example patterns,scratches you name it.*

COL – Color / Diffuse

SPC – Specular

ECC – Eccentricity *To control how strong the light on particular area instead of letting the whole surface exposure from light.*

RFL – Reflectivity *To control certain areas with Reflection,in real world,every individual surface has different amount of Reflection*

BMP – Bump

SCL – Specular Color  *To control certain surface with a different color that bounce back from light*

Diffuse Map,contains only color information that the Objects holds on its surface. Highlight and Shadows are excluded from Diffuse Map especially when working Commercial,Films and etc. There are various ways to create Diffuse Map,for example by using Texture Projection method straight on the object and later cleaning up leaving just the color information itself. I choose to create the Textures by mix and match all sorts of related Textures according to Subject matter,it gives an opportunity to put in your creative mind in filling up the details needed.

*Read Up by Leigh Van Der Byl – http://www.leighvanderbyl.com/texturing-for-dummies/diffuse-colour/*

Credit to Leigh Van Der Byl for useful information =)
Metal,Rust,Scratches,Noise,Dust and etc sort of Textures are used on Samurai Helmet. Fig03 shows a variety of Textures used to create the Diffuse Map for Samurai Helmet.

With these Textures, it is possible to create various type of Diffuse Map for individual parts of the Samurai Helmet. Of course, it is also important to reference and study some metal,rust,scratches objects in the real world like Fig 04. I had times when I cant figure out how to solve problems, especially contact points of one object on another or side by side. Answers can be found from these Reference.What would be more interesting for a Texture Artist, is to have a camera and go around and snap these photos,touch the surface,and study the object on the spot. Having more close encounter to real life object really sparks more idea in the progress.

So with those Textures,Studies,this is how one of the Diffuse Map looks like after various try out with Metal Textures,Masking Textures with Alpha and playing around with Filters in Photoshop – Fig 05.  Most of the time Photoshop is the main tool, Mari is more of a tool to touch up Seams and to preview some Textures on some Geometry.

There will be another update soon with some rendered Images and a little bit more details on the workflow! As for now – its Rendering Season…=)

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