Blizzard Style Hand-Painted Textures | Breakfast Art

[Music] good morning everyone Jason here and today we are going to learn how to create Blizzard style hand-painted textures on a low poly game model but before we can begin let us quickly cover two very important things the first one is to understand what are some of the characteristics that makes a texture feels like the Blizzard style and the second would be the workflow for working with 3d models within Photoshop alright here are five characteristics that makes a texture feels like the blizzards now the first one the design itself has very few or no Street lines at all so let's take a look at this example this is an artwork done by Tyson Murphy who used to work in Blizzard here are some of his weapon designs for World War cross I believe so as you can see here the weapon silhouette itself doesn't actually have a lot of straight lines in fact that the whole design of this weapon feels very organic because of how curvy things look the second characteristics for hand-painted textures will be that the lighting shadow and ambient occlusion are actually painted into the LB Roman and usually in this hand painted textures the artist will position the key light a birthday object so using the same concept artwork from before we can try and analyze how Tyson designed this weapon and how he intends the actual artist to paint this weapon on to the 3d model if we apply a black and white filter over this image we can see that the overall value of this image gradates from the top wets lightest to the bottom well generally the darkest the reason why we use campaign textures for low polygon models is because we can fake lighting information being the light source or the shadows that are generated from the lighting this paint looks painted directly into the textures this is so that we do not need to waste expensive engine resources on generating dynamic lighting in a 3d game point number three the the damage and cuts of these textures are usually over emphasized we can see from this particular concept art there is Russ the cuts and chips on the weapon to a point where the weapon looks unusable thanks the textures usually have a very rich color palette using the same example we have of this axe you can tell that additional colors are mixed in when painting this particular texture on the X you can see that there's a hint of blue on this part of the metal texture and on the blue part you can see a little faint orange or reddish glow and on the wooden areas you can view that there's a little bit of green that is been mixed into the coloring and lastly the edges are emphasized in this textures using the same concept of the X we can analyze certain areas where the edges are highlighted with a lighter color usually it's a color that is close to white and even or nonmetallic parts such as the cloth right below the blade of the X you can tell that on the areas where the contour bends you can see a lighter shade of red this emphasis of the edges creates contrast and this brings about a lot of visual interest especially since the bubbles will be quite small on the game screen alright next I will do a brief introduction of the workflow of 3d texturing inside Photoshop now I must say that prior to this I'm kind of an old school you know texture artist in the sense that I will create a texture and I will import it into the 3d package speed traditional max or Maya and I actually use the 3d software to preview my textures and I didn't actually know about this feature in Photoshop onto a friend of mine but told me that blender has a similar function where you can pin your textures and you can preview them in real time in a separate window reading blend up so I went to research a little bit and I realized that Photoshop has the same functionality or the same features which allow you to do just that so without further ado let's hit into Photoshop I think this feature is available in CC and above so this concept I have over here is done by chow spot and you can actually view the image in the link in the description box below and basically I took this constable and i modded a simple low poly version of this in 3d studio max so after doing after completing the model I exported the model as a obj file I believe you can have it as a 3d s file as well it was photoshop so right now we will just drag this in and open you will see a familiar new document dialog box over here what you want is to create a big enough canvas where you can see the model being displayed on the screen so for now instead of a4 maybe I can do something along the lines of something smaller it is something like 2,000 pixels by 1500 and we click OK and Photoshop will open up this 3d model and it will ask you whether you want to switch to a 3d workspace just click yes basically the 3d workspace is over here where you can switch back to the default Photoshop UI in this 3d workspace you can actually have the usual viewport controls as you would in any standard 3d package where you can orbit around the subject you can zoom in and out the controls are over here you can zoom in you know you can turn the camera you cannot build around the object so on and so forth and notice here on the right hand side instead of the default layers tab you have the sea wheedies head but the configuration of the object itself is very similar to how it's later in the default Photoshop layers tab you can see the information being displayed one above the other one so this concept what I have over here is done by Chow spark and you can actually view the image in the link in the description box below and basically I took this constable and i modded a simple low poly version of this in 3d studio Max after doing after completing the model I exported the model as a obj file I believe you can have it as a 3d s file as well it works workshop so right now we will just drag this in and open you'll see a familiar new document dialog box over here what you want is to create a big enough canvas where you can see the model being displayed on the screen so for now instead of a four maybe I can do something along the lines of something smaller it is something like 3000 pixels by 1500 and we click OK and Photoshop will open up this 3d model and it will ask you whether you want to switch to a 3d workspace just click yes basically the 3d workspace is over here where you can switch back to the default Photoshop UI in this 3d workspace you can actually have the usual viewport controls as you would in any standard 3d package where you can orbit around the subject you can zoom in and out the controls are over here you can zoom in you know you can turn the camera you cannot build around the object so on and so forth and notice here on the right hand side instead of the default layers tab you have the sea wheedies head so with that out of the way let's begin the exciting part which is to create the texture to select the textures simply navigate over here the under the 3d panel you can see the name of your 3d object for mine it will be the sort and if you claim and the SWAT layer or the certain group you will open up the material properties over here now usually I would just go in here and create a new texture and it will ask me about the texture size in which maybe I'll specify a bigger size for this example many 48 by 2048 and I'm okay and you will actually create a new document right beside the obj file with the unread information already done so this unwritten information you have to properly unwrap the 3d object for this to apply to appear on the document like this and you can easily hide the unwrapped information over here in this a properties panel it actually doesn't exist as a layer by itself and you can also change the color tonker the opacity so on and so forth so it's a pretty useful when you are capturing to be able to see the unwrapped information and to display this to information side by side we will go to window arrange and select the two up vertical orientation so over here you can see the texture file and over to your right side you will see the 3d model so let's begin doing some simple texturing you can go to your mouse and you can create a new layer or you can use this existing layer and let's say I want to fill in with a 50% gray perhaps and then I will create a new layer above it select a paintbrush just a simple circle brush and maybe so like a red do some bloodstains on the on the Swart right now I'm just painting with the mouse but it's just to illustrate my point that the that the update is done life as you can see on the model we have at the site if we go back to the move tool you can pan around this thing and you can see that the black since I actually updated in real time on the 3d model itself and the beautiful thing is that you can actually in this panel or in this window you can switch back to your paintbrush and continue painting on the 3d model itself like how I will be doing now and you notice back on your left hand side on the on the document of the texture of our you can see that the update is done in real time so it becomes very easy for you for example if on this little chair over here you want to be really really precise you can use your selection tools and say I want to create this just show you okay let's just fill this with a orange color all right let me go back here you see that it becomes orange but what if you know I want an exact pattern over here [Music] size of the brush to be a little bit smaller you know I can actually be very precise over here again you can go back to your camera controls you can actually zoom in so that it becomes a little bit more precise you can turn the camera switch back to your paintbrush would you know painting accurately it becomes very easy for you to lay down certain patterns that you want on your textures so this is a great way to work when you are laying down initial textures for me again as I mentioned I am more of the old school types after this initial phase I personally will su prefer to just view and work on the texture document by itself because it allows me to have a little bit more space I can you know fit in more in despite my by the side which you will see later on during the time lapse recording of the creation of the textures but for now I think it's a pretty useful tool to lay down the initial design of how you want the textures to be so one question is how do I save this file right so let us just soon the model again and to say if the texture is very easy you just have to just go through the the default way of saving your Texas something by default somehow it defaults to the PSP format you can go back to the usual PSD format and maybe I will do is sort this and save it okay now once you save it you can close it you notice that this is you see one and say you're done in the session you want to switch off your computer you want to close everything I'll see where they're going to save the file you can say no and next time when you look back this obj file you'll notice that the the textures are missing again so before you freak out you know a simple way to look back be captures the working progress that we have from before you click back over here under the SWAT you can select over here replace Texas and you just select the one that you have and voila it's back to edit detection again you just have to go back to the same layer and you select edit Texas the document will reappear so for today's time-lapse video I'll be showing you the process in which I paint up protections just quickly show you the end result before we begin replace textures this one so this is the enemies that we are looking at and I'll show you how I reach this you know how how I painted this wizard star campaign in Texas so enjoy so alright so IB forgot to record the start of my process so we just have the stuff from here but basically the first thing I did was to create shape layers based on the individual colors of the design so for example the gray on the metal will be its own shape the goal on the weapon will be its own shape the red cloth area on the handle will be its own sheet and the brown part on the weight will be its own shape so on and so forth basically this helps to streamline the process later and with the help of a clipping mask on the shape layers so once I've done that next I would actually muck out the shadow areas using another shape layer that is set to multiply and usually I prefer to use the shape layers instead of using the paintbrush on using lasso tool simply because it is easier to add it later the shape if it's somehow drawn wrong way I can just shift the anchor points around to edit my shape so it provides a lot of flexibility for this process again I'm only using this 3d view for the initial layout of the colors as you can see it's quite useful to have a life feedback on the colors that you I mean you are you know laying down the the original tell us that you need so again just selecting areas where I think should be in shadow typically if you are doing a realistic kind of texturing you were not one shadow in information but because we are doing it the Blizzard style you want to opinion the shadows and the ambient illusions yeah I'm just laying down some patterns some goofs that you're painting real detail later and this is the part where it really really helps to have a life update when you're creating artwork it's really very efficient to be able to see the position or location of the designs that you have laid out to check in real time if they are in the right place or if you need to further edit them so for the boats on the side of the the weapon I've actually use a blending mode to create a shadow a drop shadow on it so right now I'm you know going into painting mode and I've basically closed the 3d preview because for one thing I'm actually working on this pot in my home computer and I still using cs6 so don't have that feature but at the same time effect I actually don't need a feature when I'm painting I usually like to have more references on the screen so I really don't have to realize state to this way any more information than what you see here so right now I'm just a doing just a very quick initial pass laying down different colors as I mentioned in the PowerPoint earlier about adding in you know random blues and oranges to greens even to really create a very rich looking color palette on this weapon so it's a mixture of the color blending mode the multiplier matte blending mode to really you know create a interesting looking assortment of colors I'm also adding in additional and be inclusion using the gradient tool and right now I'm just adding in the edges again as mentioned during the PowerPoint the edges tend to be over emphasized so right now I'm using a white to go over the areas where they are supposed to be sharp edges so once this initial passes lading that's where the fun really comes in you get to really explore the different types of materials and try to paint them as realistic as possible if you find difficulty painting the materials in for example getting metals of my metal getting gold who let go I would suggest you do a little bit more material studies before you attend this this this assignment but yeah basically from here on out a smaller grindy process we're just assuming and try to work out each individual pot try to make it as interesting as possible but yeah I'll leave you with some music I'll see you then you [Music] [Music] [Music] [Music] [Music] [Applause] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] [Music] and there you have it the completed textures on the model one last thing to note when you are previewing this in your 3d package do remember to switch off the default lighting or set it to a flat lining so that it will show up a little bit more accurately and that's about it I hope you have learned something during this video and I'll see you next time [Music]

Channel: Jason Wang

Views: 91,018

Keywords: 3d art, 3d, game model, blizzard, blizzard style, hand painted, hand painted textures, texturing, photoshop, photoshop 3d, tutorial

Id: njxJUAXc7yo

Length: 42min 42sec (2562 seconds)

Published: Fri Apr 27 2018