blenderart_mag-12_eng.pdf

Issue 12 | Sep 2007 | Blenderart Magazine

Blender learning made easy

- Cristian Mihaescu - ‘Eggland’

Gaurav Nawani gaurav@blenderart.org

Sandra Gilbert

sandra@blenderart.org

Nam Pham

nam@blenderart.org

Phillip A. Ryals

Kevin C. Braun

Derek Marsh

Abhihsek Gupta

Adam Friesen

Alex (blenditall)

Andi Schumann

Claas Kuhnen

Eric Pranausk

Krzysztol Zwolinski

Olivier Saraja

‘BlenderArt Magazine’, ‘blenderart’ and

BlenderArt logo are copyright of Gaurav

Nawani. ‘Izzy’ and ‘Izzy logo’ are copy-

right Sandra Gilbert. All products and

company names featured in the publica-

tion are trademark or registered trade

marks of their respective owners

Cristian Mihaescu - ‘Eggland’

www.blenderart.org

Issue 12 | Sep 2007 - Texturing

You know that you have finally become a

real “blenderhead”, when not only do you

look at objects around you and break

them down into their various vertices,

edges and faces, but when you become

awestruck by the infinite variety of tex-

tures in the world around you. You will be

walking along, minding your own busi-

ness when it will grab you, the way rust

is peeling on a signpost, the way a flower

petal looks with morning dew on it. You

will notice how the light affects the tex-

ture and next thing you know, you have

gone from awestruck to breaking it down

and figuring out how to recreate it in

blender.

In this issue, not only are we covering

how Blender's texture tools work, but how

to effectively use them to create truly

great textures.

Managing Editor

We have gathered up some great tutorials

that will show you how to remove UV

Seams and create Normal Maps. Then you

can try testing your new skills by follow-

ing along to create a great Skin Shader

and realistic plastic shaders. Which oddly

enough, is not as easy as one would

think and yet not as scary or difficult as

the last statement would imply. In

'Keeping the Flame', we see how to set up

and create a realistic flame. Then we go

behind the scenes with a look at how

'Rooftops' was created, while in 'Tangrams

of Light' we learn how lights affect tex-

tures and how the whole can be used to

create just the right mood.

One of the first skills

you will need to learn

is how to observe!

Welcome to the wonderful world of Tex-

turing. In this issue we will be taking a

look at how to create great textures to

enhance your images and animations.

Creating great textures is a skill like any

other and one that can be learned

through practice and experimentation.

One of the first skills you will need to

learn is how to observe everyday tex-

tures. What makes them unique, what

makes them “work”. Then with that

knowledge and a good understanding of

Blender's texture tools, you are on your

way.

So go grab a cup of coffee and curl up for

some great, informative reading, sure to

change the way you approach your next

texturing adventure.

Happy Blending!

sandra@blenderart.org

www.blenderart.org

Issue 12 | Sep 2007 - Texturing

TEXTURING TOOLS & TECHNIQUES

8 Now your material will be available to as-

sign to whatever object/model you wanted

it for.

There, just as I promised, easy as can be. With

practice, you won't even have to think about it,

you will just click your way to reusing your

blender assets.

A look at various tools and

Texturing techniques to

enhance your images.

the new file that you linked it to. This is a useful

option when working on a large project that will

generate a large number of files that may be

worked on by one or more people. This will al-

low any changes made during production to be

propagated throughout all needed files without

the added work of updating each file individual-

ly.

Bump Mapping

What is a Bump Map? Bump maps are textures

that store an intensity, the relative height of

pixels from the viewpoint of the camera. The

pixels seem to be moved by the required dis-

tance in the direction of the face normals. You

may either use greyscale pictures or the inten-

sity values of a RGB-Texture (including images)

(definition taken from the blenderwiki).

Okay, on to actually seeing how to use these

options. Both options are started the same way:

1 From your new/current project file, either by

going to File> Append or Link or using the

hotkeys Shift + F1, open the file browser win-

dow. (All blend files can be used for Append-

ing or Linking.)

2 Browse to where you have saved the blend

file that contains your perfect material.

3 Click on the file name of the desired blend file

which will open the library list of

Appendable/Linkable assets.

4 In this case we are looking for materials, so

click on Material.

5 That will open a list of all available materials

in that blend file.

6 At the bottom of the file browser there are two

buttons, one for Append and one for Link.

Push whichever option you have chosen for

your project.

7 Right Mouse Click on the Material you want to

Link or Append, to highlight it and then Middle

Mouse click to confirm (load) your material to

your new project file.

At some point in your blender exploration, it will

happen. The perfect material/texture for your

current masterpiece is one that you have al-

ready created in a previous project or one that

has been created by a generous community

member that has offered to share his/her mate-

rials with the community. So how do you go

about getting that perfect material/texture into

your current project? Well it couldn't be easier.

Well that is a nice definition and all, but what

does it mean to the average artist? It means we

can fake details and geometry that would be

time consuming to create or result in a model

that due to high vertex/face counts would take

entirely too long to render (that of course is for

those of us that are impatient with long render

times.)

Let's hear it for faking! Now let's look at how to

use Bump maps.

1 Add a new Material in the Material Buttons,

assign color of choice

2 Click on the Texture button (F6)

3 Click in a Blank texture slot

4 Choose an texture type (there are many to

choose from, some procedural textures don't

work as well as others, for more information

on the different texture types and their uses

you can refer to the blenderwiki :

5 Apply the Texture in the Material buttons Map

To panel by clicking the Nor option. The

strength of the effect is controlled with the

NumButton Nor on the same panel.

Blender has two options for reusing materials,

Linking and Appending (actually both these op-

tions can be used for all of blender's assets.

Blender assets can include actions, armatures,

cameras, images, IPOs, lamps, materials, mesh-

es, objects, scenes, text, textures, and world,

etc.).

will place a independent copy of the

material into your new project.

to a material will link to the original file

that contains the material, meaning that any

changes to the original file will also be saved to

www.blenderart.org

Issue 12 | Sep 2007 - Texturing

TEXTURING TOOLS & TECHNIQUES

Multiple Bumps maps can be used together to

create any number of detailing effects. UV map

layouts can be used in combination with proce-

dural textures to create more complex and real-

istic effects.

Object must be UV-unwrapped.

If shadows are baked, lights and object cannot

move with respect to each other.

Large textures (eg 4096x4096) can be memory

intensive, and be just as slow as the rendered

solution.

Human (labor) time must be spent unwrap-

ping and baking and saving files and applying

the textures to a channel.

to Bake To" and will not be able to bake anything

for that mesh.

1 In a 3D View window, select a mesh and

enter UV/Face Select mode

2 Unwrap the mesh object

3 In a UV/Image Editor window, either

create a new Image or open an existing

Image. If your 3D view is in Textured

display mode, you should now see the

image mapped to your mesh. Ensure

that all faces are selected.

4 With your mouse cursor in 3D View,

press Ctrl Alt B to popup the menu of

available baking choices. Alternatively,

access the Bake panel in the Buttons

window, Scene (F10) context, Render

sub-context.

5 Bake your desired type of image: Full

Render, Ambient Occlusion, Normals, or

shadeless Textures.

6 After computation, Blender replaces the

image with the Baked image.

7 Save the image in the UV/Image Editor

window via Image->Save

Render Baking

Render baking creates 2d bitmap images of a

mesh object's rendered surface. These images

can be re-mapped onto the object using the

object's UV coordinates. Baking is done for each

individual mesh, and can only be done if that

mesh has been unwrapped. While it takes time

to set up and perform, it saves render time. If

you are rendering a long animation, the time

spent baking can be much less than time spent

rendering out each frame of a long animation.

Use Render Bake in intensive light/shadow solu-

tions, such as AO or soft shadows from area

lights. If you bake AO for the main objects, you

will not have to enable it for the full render, sav-

ing render time.

Bakes all materials, textures, and light-

ing except specularity and SSS.

Bakes ambient occlusion as

specified in the World panels (F8). Ignores all lights

in the scene.

Bakes camera-space normals to an RGB

Use Full Render or Textures to create an image

texture; baked procedural textures can be used

as a starting point for further texture painting.

Use Normals to make a low-resolution mesh

look like a high-resolution mesh. To do that,

unwrap a high-resolution, finely sculpted mesh

and bake its normals. Save that normal map,

and Map To the UV of a similarly unwrapped

low-resolution mesh. The low-resolution mesh

will look just like the high-resolution, but will

have much fewer faces/polygons.

image.

Bakes colors of materials and textures

only, without shading.

If selected, clears the image to selected back-

ground color (default is black) before baking

render.

(Render Baking information taken from the

blenderwiki) Further tips on usage can be

found at the blenderwiki

Baked result is extended this many pixels

beyond the border of each UV "island," to soften

seams in the texture

Texture Painting in Blenderart

Blender features a built-in paint mode, called

Texture Paint, designed specifically to help you

edit your UV Textures and Images quickly and

easily in either the UV/Image Editor window or

the 3D View window.

Windows Users do AO first: If you are running

Blender on a Windows operating system, you

may have to first bake Ambient Occlusion before

baking any other option. If you do not bake AO

first, you may get the error message "No Image

Can significantly reduce render times

Texture painting made easier

Reduced polygon count

Repeated renders are made faster, multiplying

the time savings

In the 3D window in Texture Paint mode, you

paint directly on the mesh. In the UV/Image Edi-

tor window, you paint on a flat canvas that is

wrapped around the mesh using UV coordinates.

Any changes made in the UV/Image Editor win-

www.blenderart.org

Issue 12 | Sep 2007 - Texturing

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