Materials Textures in Maya tiling

all right so now in this video what we want to do is we really want to start to explore assigning materials in Maya and texturing the room now you'll notice we didn't paint the room in Mudbox right upin and all the other stuff in the mud box that's in our room the reason for that is because what we want to do is we want to explore tiling textures in the room and that really means we can find just a premade texture texture that will repeat itself right you'll notice in one of the earlier Mudbox videos I kind of showed you how you could turn tiling on for the stencils and what it did is repeated that texture that's exactly what tiling does inside of Maya right now there's two ways to do it you can actually do it through the material itself which comes with some of its own drawbacks or you can do it with the UVs and I'll briefly kind of show you where both of those are at we'll be using the one with the UVs though because I find it's a little more flexible a little easier to do and easier to find so what does a seamless texture well in this case I'm gonna bring up Chrome and you'll see I kind of did a quick search for seamless wood floor texture and really when you look at these textures what you'll see is you want to kind of see a texture that basically repeats right you're most kind of the edges here kind of meet up on the same side elsewhere and it'll make them seamless right now of course you could do searches on line Google you have to be careful though sometimes the format's will say weird right so be really be careful that the format saved properly sometimes I've noticed occasionally that they'll save in a weird format that Mudbox won't recognize but you'll notice kind of like here you see how this wood paneling lines up but this wood paneling and this one kind of lines up with that one that makes them seamless so that you won't see the edges right now one of the things they also did is I did a quick search for and you don't have to have it be wood floor texture but probably not a bad idea for it right but what you do is you could do it a seamless wallpaper texture right you also can find some of these at textures calm so if you really want to use texture calm you'll probably be able to find those there as well but you'll notice particularly when we look at like the wallpaper you'll notice that this wallpaper fundamentally repeats itself right you'll kind of see how when we actually click on it this is the proper texture okay it's gonna now you notice this one has kind of this little water marking in there so you probably don't want to use that kind of texture right that's something making sure to say hey don't use this texture this is just an example cuz you see I'm kind of the pattern here I love wallpaper for this very reason because it really highlights the seamlessness of textures you notice how this pattern here matches this one so it's kind of like they got cut in half so when you would have this texture repeat this side and this side will match just like the top and the bottom will match this is what makes a texture seamless if you can get seamless textures for whatever you're doing that's always a deal obviously as we've seen with our painting you don't really need them there's other ways you can kind of get around that but in particularly for this one we really want to just find some good generic wallpaper and wood floor that it was for Pete easily on its own so in this case we just kind of did some searching on the internet for a seamless texture right this means that the textures kind of wrap around they repeat themselves at the edges so that when you have a repeat in the software you can't see the seams that's why they're called seamless right you can't see the edges so just kind of wanted to get that in there a little bit now in this case you see I've kind of on a back of mine and have opened up the master room scene and I'm just gonna texture the room itself right so I'll just click on the Ring right and remember we can use our isolate select right those kind of little blue dotted box with a little white cursor there just click on it just so it shows the room itself now in this case what we want to do is we want to apply our first material right we've exported the last video we exported files out of Mudbox right that's easy that's just the picture now we have to get them back into Maya that means we have to create materials for these objects right so each object that had a unique texture and unique UVs you get its own unique material also right now by default all of the materials that are on every object in my our that default Lambert one that's that gray so we need to assign a new material to the room so how do you do that well there are a couple ways one is there is something called hypershade and we're not gonna have Lee rely on and use it here but it's this little kind of a kind of teal ball right so it's got a little teal ball you will find though it is in Windows rendering editors hypershade how about clicking this little cotton ball it's kind of right here of the renderers we'll see that some next videos and you see what hypershade does when you click on the little kind of teal ball is it brings this up and this is your proper Maya material editor these materials are kind of just some default stuff for particles and any other shader stuff that Lambert one is that gray that's on everything and so when you click on that material you'll see it kind of brings the material ball up here it brings some of the properties you can kind of create the textures for right there even other material types you can create right here you can even once this is clicked on right you can actually click on the select tool it'll kind of double triangles one and if you click on that with the selected it shows you the shader Network so there's the Lambert material and there's the actual full shading groups any textures we have to create we plugged in over here I'll kind of come back to that a little bit later today or in the next videos kind of talk about that a little more we're not really gonna need to use the hypershade that much but I want to make sure you guys know that it's there and that's your full material editor right we'll talk about a little bit more later on somebody close that down make sure you click this cuz there's another way but I have them find easier particularly I'm just doing some basic material stuff if you're gonna get into some like hardcore complicated change stuff you're gonna want to use hypershade but if you're just plugging a couple of textures into a model usually you don't have to necessarily use hypershade if you don't want to so there's another way to assign materials in Maya if you select the object right it's left click on the room hold down right mouse button come on there we go hold that right mouse button right so we hold our right mouse button it gets us our selection types right vertex edge face object mode so we already kind of know about holding down right mouse button for these but you guys would probably notice that there's this whole other set of menus down here right and in fact you'll see that there is the ability to assign a new material right from here as well as even just go to the material properties so in this case I want to assign a new material this was just told that right mouse but right you select an object all right hold on right mouse button over it brings this up and you just go down to assign new material now in this case that brings this up and you should have Arnold available right there's the Arnold render here and here you should be fine remember if you're not seeing that that can be a plugin not turned off you need to probably be fine because you're working at home and it's not kind of trying to find a license over the network but if you need to go to Windows settings preferences plug a manager right window settings/preferences plug-in manager right kind of show this off for the unfold 3d if that wasn't on for whatever reason and these are all the plugins that should be on for my when you install it as you scroll down you'll see the modeling toolkits technically a plug-in you'll see unfold 3ds a plugin so for every reason unfold 3ds not showing up as an option in your unfold stuff turn out on if modeling tool kits aren't available to turn that on but if we keep scrolling down you'll see there's an area that says m2a it's the solid angle section that's my to Arnold so you want to tell that to load and auto load so that's how you get to that Windows settings preferences plugin windows settings preferences plug a manager and just make sure to scroll down to where the mode is at so you can get armed and that'll make the armor render available we'll see that some of our later videos this week but it also makes the Arnold material available when you do that assigned new material it brings this up right and we're gonna see two more videos not today I'm going to do one more for our next class session that's going to be applying a bunch of the other materials on here and using preset so it'll be great practice and I'll be a video just dedicated to this not just tile and textures and I'm also going to show you some brief basic lighting stuff and rendering for Arnold and that'll be kind of our next two videos for later so in this case we don't want to use the default materials that my is giving us blend Lambert farm oftentimes you even see like an anisotropic like if I click on all of my ones here just even more right stingray which is kind of Maya's own custom real-time physically based shader system we're not gonna use that here though you'll see there's things like anisotropic which is a physical property of light these are kind of the old my materials right we don't really want to use those right because one of the things they added recently was Arnold Arnold's kind of their new main renderer these are really kind of built to use the older renderers or Maya's own softener - own software renderer is really not terribly good it's actually quite bad Arnold is in itself pretty awesome render so what we're gonna use is instead of using the default Maya materials we're gonna click on the Arnold thing right here because you kind of see that when this assignment journal thing comes up it's got kind of like your filter on this left side and then the action materials on this side so we'll click on the Arnold filter and you seems likely a lot in here now we're not gonna have to worry about most of these but you see the Navy an occlusion shader a car paint shader you'll see that there is a wireframe shader which is really cool for doing wireframe redditors we're not gonna worry about that that semester though but there is something called AI standard surface and that's kind of the default main kind of surface type in arm and that's what we're gonna use we're going to click on AI standard surface and that actually applies this new material here now you might have noticed in the video that something popped up and then disappeared here my is like that a little bit right so what we're gonna wanna do we want to start to work with materials a lot more is instead of using things like channel box layer editor or modeling toolkit we're gonna switch to attribute editor right and we have occasionally seen attribute editor a little bit but it's kind of taking more of a look at it here right this really shows you the properties for the whole object right channel box layer added a really a suti layer stuff we'll talk about that a little more our troll project for our final project project six and of course it has your little transforms for the objects and has your history alright anything you do the model will be in your history so we kind of know channel box layout or remodeling toolkit of course and we've seen and dabbled it was after a little bit but we're really gonna get to see it more here but this is where certain properties are at like render stats are in here sometimes your smooth mesh you might accidentally turn on displacement preview right so if you ever have your smooth preview on and the control pages up and you can't turn it off you absolutely hit the quick key I think it's like control 3 something like control 3 or some like that and so it's regular 3 or all 3 something like that and it turns this on you just have to go back to your objects actually editor smooth match displacement preview turn that off and I usually just turn this back on and then you're smooth pretty over normally but just some of the stuff you can actually probably you can't receive the object right there what we want is we want the material properties and we're not really seeing them right here you actually kind of see here there's some other room properties there's the similar properties and then there's actually your standard surface right there so you can actually see it is here in these tabs but another way you can actually bring this up right is if you hold down the right mouse button over your object you can actually go to material attributes right so the signing new materials you've already done that you go to material attributes what that does that brings those material properties up now in this case you see how we can label it so I can just call this room right go tender there's room and you'll see that there's a bunch of material properties in here now for us we don't really have to worry about these too much the only thing I'd say to probably worry about right now before plugging some textures in is specular right so you see when you first bring up your material attributes there's base and that's your color property but it's actually where you're gonna color maps gonna go is in the base section there is the specular section sometimes you can only see that and you see specular color and you might plug it in to specular color an accident go by can't I see my color map you plugged it into specular color when you wanted to plug it into base color right in this case our wallpaper we and we're gonna do a lot of paper first and I assign another for the floor we want the specularity zero for bombing we don't really want our wallpaper to be shiny and that's what specular is that's shininess reflection so we're gonna turn the wait for specular down to zero weight is usually kind of B amount right and then with the actual color you want the specular to be and to a certain extent like the intensity would be here like if you painted a spec map on one box you plug it into specular color and that would say B specular here don't be specular here is where it was any specular color you wanted to have that's one of things that kind of dropped out for this project because you know there's only we can still cover just not everything we want to cover and I just want to simplify the project a little few days but you can't plug through your specular maps from my box into there usually if you do though you'll turn up your index of a fraction to show a lot more when you render it and maybe a little bit of roughness just to make it spread over the surface more all right but we wanted to smooth up color exodus right so we're gonna go to color section and base and you see there's a little checkerboard here right so we're gonna click on that checkerboard and we click on the color checker board for base it brings this up very similar to our material one except it's for textures you have a filter on the side so these are kind of just like the control there's a filter on the left side and then the right sides the actual in this case texture but if it is the material when it's the materials maybe you see a lot of textures in here some of these are procedural textures from mine right these are math based right you actually apply them and Maya creates them using math and algorithms right and it actually just has a bunch of sliders you deploy those sliders to have it randomize stuff so those are procedural textures the great thing about those is they always have infinite resolution because it's not an actual fixed 2048 pixel in jpg or PNG or Targa they do tend to look a little bit CG ish right but they can be really cool if you're doing like you know noise or like a checkerboard and things like that we're not really addressing procedurals this semester but Maya does have its own procedurals we wanted we wanted the fourth one down right called file right there's bulge there's checker there's clock and then there's file that's the one we want so we click on file and now you'll see it brings us to this and you'll notice this looks a heck of a lot like our a free point free image planes right so we create a free image plane of my uses or references for models it brings up pretty much this and that's basically what this is this is your ability to pick and load an image in some Maya whatever it is right in this case it's for a material on textures for your image plane it's for reference images so I click on checkerboard or not checkerboard but the little folder right and then we could do is we can go back out now my default that goes to the source images folder so if you really really wanted to put your textures in your source on your folder you can but I'm gonna go back out to images and there's all of our textures now in this case you'll notice I saved wallpaper and wood floor already into this project so when you download those save them into the project itself because I'm easy to find and if you didn't you step around we want to do this it's our wallpaper one so I'm gonna hit open and now that wallpaper textured plugin now you notice how we're not seeing on the model that's because in Maya right for is wireframe five is shaded six is texture so member for wireframe five shaded six textured now you notice we had to create a material first materials are basically the gatekeepers inside of Maya really any software right you can actually and you'll see this on some of our parts of our models you can actually supply a material without any texture at all if you're just looking for a really really simple color right many kind of computers and cell phones really does have that simple color that's got some shininess you don't necessarily need texture for that and we'll see that for like our copper and our brass stuff and even kind of a little bit of the plastic underneath our chair so your material itself is what is actually telling the model what color would be how shiny need to be how transparent and you can do that without textures we're just using the textures to control that at the level of the pixel right so material itself is what actually tells the object what properties of a material to hath right reflection transparency glow so materials actually or what to telling Maya and - camera and the lights how to interact with that you're just using the texture to control it at a really fine level right so that's what the texturing really it is we're saying hey I know I could do this without a texture but I want to be able to say be darker Brown here be kind of lighter tan here textures really give you the ability to control the color or transparency at a very small fine-tune level the level of the pixel but materials themselves are what's actually telling Maya's renderer and lights how to create the the surface right the material properties of the surface and he's using a texture to control that at a more precise level so there we go but in this case you notice how some of my wallpaper is large and some of its small well there's two ways to control that tiling of this one of the ways is where we're already here right right when we just plugged in our texture we can see that there's the file and here's our texture but you'll notice right next to it is placed 2d texture right if I click on that you'll notice that you actually have a repeat function right here now we're not actually to use this but I'm gonna show you really quickly if I say type in 10 by 10 you notice how it repeats that wallpaper texture a lot and you notice because the texture is seamless is how it repeats without seams without them edges showing that's what's really cool about seamless textures now in this case you'll notice though that these are larger than these and there's no real way to control that unless you created a separate material for every wall I don't want to do that so yes you can control the tiling food place 2d texture right here but there's another way to control it and I feel like it gives you a little more direct control you'd also have to do this repeating for every texture plugged in so if you had a couple of other material properties like a buck map you'd have to go in here and save the same or P numbers in there the UV way actually allows you to control it at the level of each shell instead of having to create mature of each one and it'll do it for any of the textures because you're tiling the UVs themselves so I'm gonna click on the model and what I'm gonna do is I'm gonna go to our UV editing workspace right so we don't workspace we click on my classic up here we go to UV editing and there's our UV so now in this case I want to turn my distortion grid off because I really don't want that on anymore now what I want to do is you notice how we kind of when we unwrap this we just left everything on top of each other we didn't worry about packing it's really terribly awesome that's because I knew we were going to come back and do the texturing a different way now we notice when we even wrapped everything before we always want to make sure it was in the quadrant it wasn't going in other quadrants because I don't do weird stuff with I'm trying to create a separate texture to just that little area move on and no overlap right here since it's the same texture on every wall overlaps ok also because this texture was not painted to match the UVs it's a generic seamless texture we can actually scale these you knees bigger than the quadrant and it'll still work so what I'm about to do you really is a bad idea to usually do for most tax training but if it's tiling for wallpaper or floor it's actually okay so in this case though I want to kind of control each shell on its own now one of the cool ways you can actually do this is if you go in here the 3d view here right if you hold down your right mouse button and brings up your selection types right and of course assigning material and stuff but you'll see there's a UV section and if you go into that it brings these up and there's one called UV shell alright so just repeat that if you hold down your right mouse button over an object you can go to the UV section of your selections and then UV shell and you'll notice it allows you to select just the UV shells now when you do that you can then move your cursor to the UV editor pick R for scale right good old R for scale and you can scale this shell up and you notice as we scale this shell up its getting bigger than the quadrants which usually most of the time is unknown oh right you don't want to do that particular painted a textured mud locks or substance pan or whatever don't do that but in this case we did we just found a generic seamless texture that would repeat and you notice how this image is now repeating so often quite popular for games you can repeat your textures right you don't paint a giant 50,000 pixel brick wall for just built one building what you do is you have a couple of different smaller brit textures that you can type and that way you can take a 1024 or even in this case I fans like a 250 pixel make 250 pixel texture and make it act a lot bigger because it's one single texture that's on all the walls and you can pilot so that repeats and that way all you have to load in a ram all that has to be on your blu-ray disk for or your download for your video game it's just that smaller texture and then you kind of let the engine or my I do the rest so that's where the great things about tiling textures and you tend to see it a lot for large environmental pieces buildings roads right where you're not just creating this massive unbelievably huge texture asset right you're kind of like well we're gonna we're gonna create a smaller one and have it repeat a lot alright so this is what tiling texture is allows you to do is use a smaller texture that you can then have it repeat over the model so I click on this shell and you see how kind of that's just showing the normal texture but as we make it bigger it repeats the texture and notice how we can kind of get it to the exact size if you had double you can move it around you can even rotate it right efore rotate and you said you have full control over each shell this is why I like using the UV editor for this not only do you have the ability to whatever texture is on here I'll do for all the textures but you have a lot of direct control without having to create separate materials for this remember I'm just looking show like holding that right mouse button UV UV shell and it's just on so I can select the shell I'm gonna work with I want you to scale it up and like I said because we made sure to find this as a seamless texture you know how kind of the edges are identical kind of this side max with the side that repeats seamlessly but that's all we're doing is by making movies bigger it actually takes this texture and it's here and it's here and it's just repeating the texture right and we're just using this scale to make those views bigger to have it repeat the texture so this is a great way to just kind of have to take advantage of tile and textures for your environments right and that's why we didn't do it for like things like our room for our clock because we didn't want to do that right we wanted a unique texture for that right so for this though we did it right we just wanted a kind of generic wallpaper that we could tile across everything kind of keep it everything about the same size there we go and it's a great way to kind of show us that we can select heavy shells we can tile them up just get all of our kind of tiled textures in pretty good shape so we go so styling textures right and this case I'm gonna save my scene really quick right continue what I want to do is I want to create the floor now the nice thing is UV shelf selections already on right so I can you know hold that right mouse button UVA Michel and I can click the floor polygons right so now only the polygons for the floor are selected now finally my camera zoom in close enough so that you really can see that this shell selected what I can do is I can hold down right mouse button again right and instead of going to UV shell or those I can go to assign new material cuz I want a different texture and a different material for the floor so we hold there unless when we go signing material it brings up this right and we can click on Arnold and the little Arnold filter here and then we can go to AI standard surface and now you say oh there's a whole new material on here that's not getting away this one now of course in this case I can go to hold that right mouse button material attributes instead of assigning material that brings up the material properties here so we can call this floor alright I'm gonna say you can kind of do this even with your UV editing up because it'll bring your HP editor up here when you hold down right mouse button and go to material attributes but I did do assigned a meteo to create the new material and there of course is our base color section because this is an AI standard surface so what I can do is go to the checker board those checker boards always indicate that you can plug something in so you notice that you can plug in tons of different textures from our monsters so we'll see some of these other ones later on so I'll click on checkerboard for the color base color section checkerboard and then we can go and of course it brings this up right and click on file the fourth one down file and in this case I'm gonna click back on the file to here because it was in the kind of the place to detects tremor from last time so back on file to so you notice I have these little tabs in there hatchapee editor and there's that little folder right image name folder so I can click on that and in this case we'll find wood floor and we'll hit open there we go now in this case this is gonna be kind of a lacquered wood floor so we don't necessarily worry about putting a bump map on it right if you want to you can but we'll kind of go over bumps and how to plug those in and the later videos right now in this case I need a talus right cuz this isn't kind of that's a pretty big wood grain so remember hold on right Mossman UV UV shell I can suck this shell are for scale but you just notice I'm just gonna scale in the UV editor right we're scaling in the UV editor itself and I can scale this up and I so it kind of repeats that wood floor so now that one's smaller wood floor texture now covers and repeats right so this texture repeats here repeats here repeats here repeats here so it's what tiling is right is it the texture ax repeats itself by scaling is bigger than the actual image it forces it to repeat to cover all that stuff and you can see this can be really great and really cool for how we kind of tile textures for stuff in this case you can kind of make the tiling as bigger as small as you want I think it was a little being there so I don't work pretty well I think and now of course we go back to my classic and I can zoom out a little bit maybe set object mode and what you can do is you can see that we now have I'll turn isolates locked off you see we now have our wallpaper and our floor and we didn't have to paint those textures right this was really just kind of piling textures we found some pre-made ones slap them on there and now we could see the repeat nice they look good on the model so not all texturing has to be painted by hand right particularly if it's environments and stuff you'll often just find great seamless tileable brick or wood or wallpaper or concrete to actually have it repeat in your game engine or in this case in Maya alright so I think that's a great place to stop for that like so we'll do some more videos for how to assign the textures or new materials and other things it'll be more material stuff and text for signing on our next video but that should be good

Channel: Mike Roberts

Views: 315

Rating: 5 out of 5

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Id: 8tdacVNWCJ4

Length: 28min 7sec (1687 seconds)

Published: Mon Apr 06 2020