I only use this map in some blue areas, so I make a mask to specify it.įor the roughness map, I desaturate the map and use it at very low opacity, tweaking Levels for more contrast. I use it in Overlay with a very low opacity and modify the Levels to add more contrast. To add even more variation to the different colors, I add a panel texture from Total Textures v7: Sci-fi. Darker in the Roughness map to suggest a smooth material and Lighter in the Metalness map to suggest the metal underneath the paint colors I use a similar process for the metalness map to make it white (suggesting the metal underneath is the paint colors) and I duplicate the scratch map several times in Screen mode to get them very white.Īdd metal textures and scratches. For the scratch map, I invert the colors so they become black and use it in Multiply mode. I want the metal texture to be dark here, so these areas look shinier. I also move the arrows inside the Blending Mode option window so only the darker tones remain visible. In the roughness map, I desaturate the metal texture and use it in Multiply mode. On top of this, I add a scratch map (also found in and modified by me) at 60% opacity so the scratches are not very strong and evident in the render. I use it in Overlay blending mode to get a very subtle effect. I choose one metal map from as my base metal and duplicate it to fill the whole canvas. Once I set up all the colors, I move on to add the metal textures. Rendering the UV template, mask and AO map
STARSHIP MAP DESIGNER SOFTWARE
Feel free to use the software of your choice to make AO maps - the important thing is to have the occlusions very visible in the map. I've got this map in the same window as the UV template, but this time I change some parameters to get the black-and-white image and save it as a TGA file.įinally for the ambient occlusion (AO) map I use Faogen, a software that make AO maps very quickly and accurately. The second one I always make is a mask map, which I use in Photoshop's alpha channel to make quick and easy selections of the areas I need. Just put the correct size of the map and click Render. Inside 3ds Max, apply an 'Unwrap UVW' modifier to the object and open the UV editor, then under Tools > Render UV Template, a new window will appear with the options for your render. The first one is a template for the UVs, which I'll use in Screen blending mode in Photoshop as a reference for the different objects' placement. I hope you find my techniques and methods useful to use in your own projects.īefore starting to paint the textures, I render out all the maps I'm going to need.
STARSHIP MAP DESIGNER FULL
I am going to explain the very basic principles of PBR, but if you want to read the full theory, you can download the free Comprehensive PBR Guide from Allegorithmic. I approach this process using the PBR system's Metalness/Roughness workflow.
STARSHIP MAP DESIGNER HOW TO
I will also cover a very basic explanation of how to use the Metal Weathering filter in Substance Designer to make dust. I will also share the hand-painting techniques I use in Photoshop, as well as how to obtain certain effects using texture maps. I will show step by step how I cover the different stages in creating the textures of a model, starting by establishing the colors, followed by adding damage and weathering, and finally adding some dirtiness. In this second part of my tutorial series, I will show you the texturing process I usually use in my projects. Victoria Passariello shares a range of techniques for creating textures with Photoshop and Substance Designer.
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