Ok, today i take you through all the steps for texturing the D-Ring for the harness, using photo-sourced material. At least all the steps I can fit in today…
If I tried to put it all in one post, it would be a very long one. 🙂
The first step is to get the piece you will be texturing into Photoshop. You can load the whole model, but it can be unwieldy to work with. I prefer to just cut off the specific piece I want to work with and load it by itself.
Exporting it as an *.OBJ file is sufficient. Just be sure you did your UV mapping first!
Speaking of UV mapping, you should also save your UV template to a file as well. It will be very useful in guiding you when working with the 2D texture. Once you have both, Time to go into Photoshop.
Opening the *.OBJ in Photoshop is all you have to do. There it is, looking much as it did in blender. For our work though, we don’t want that blue color. Clicking on the “Diffuse” box will let it turn it white, just as the mesh will be in SL.
First thing to do is set up the UV template on the Diffuse texture on the Lower Right. It’s a good idea to go ahead and size this to the size you plan to use in SL. In this case 512×512 is a good choice. Then open the UV template which was created earlier and paste it into the texture.
Close and save the texture, and you’ll see the 3D model updates. The black lines from the template are now on the model. Don’t worry about it looking ugly and pixellated, it won’t be part of the final texture. But you can now see how the 2D texture maps onto the 3D model. When I did this UV mapping, I did it so the flat texture is actually used two times, once on each side of the ‘D’. For some objects this can be useful to conserve texture space, and save work if an object has mirror symmetry like this one does.
Here’s the reference shot I took with my Digital camera. The idea is to use this D-Ring photo to realistically texture this D ring. Because of the way I mapped the D-Ring, a profile shot will actually line up pretty well.
Yes, the lighting is terrible (Tungsten bulb without a filter). I allowed that because for this the yellowish tint actually can work better for SL. But we will be adjusting the colors soon enough.
First step is to cut away as much of unwanted image as we can, and add the part we want as a layer over top of our UV template we added earlier. use of the Crop tool and Eraser tool do the job. Because my source image is so big (around 3400×2300), we’ll also need to scale down quite a bit. Could do with a rotate to orient it the same direction as the template. Then I set the opacity of the layer to about 80%, so I can see my UV template showing through from underneath.
You’ll end up with something like this:
So now we want to work on stretching the texture we have to better fill the template area. This can be achieved a few ways, but for this particular instance I’m choosing to use a simple Transform and Warp. It’s mostly just pulling handles until you get what you want. The final result doesn’t have to cover exactly, we’ll work on that later. This is where the ‘magic’ comes in, getting it stretched just right takes time, and skill. And did I mention time? 🙂
We can now save what we have and see how it looks on the 3D model…
Not bad! but it’s a little rough around the edges. To fix that, we will need to work directly on the 3D model itself, and clean up those rough edges. But I think this is a good stopping point for today. Until Tomorrow…. ( continued here )