This chapter is the first tutorial chapter in the book. It will introduce you to the most basic shaders and the basis of almost all shaders. Once you understand what this chapter has to offer, you will more easily move on until you understand how shaders work. They are easy to understand in their most simple forms but can quickly become very complex. So fear not.
I chose a scene that looks complex due to the geometry and effects but that in actuality involves a very simple texture set. In this particular example, shown in Figure 5.1, we have some leeway to create a close approximation of the scene because, although this concept art is beautiful, it lacks close-up, hard detail that would dictate what we need to create for the scene. Some game companies will dump a load of concept art and textual descriptions on you, but others might give you a loose image like this one and let you fill in the gaps.
We will start by taking from the concept sketch ideas for the materials that we want to create for this scene. As texture artists, we need to create a simple and versatile set of textures for the 3D modelers to use as they create/make up the finer details in the scene using geometry. In a real-life situation, you would ask several questions about this, or any, scene before creating textures for it: How old is this structure? What is it made of? What is it used for? What is the atmosphere like here? For this exercise, we will make assumptions about the exact materials the hall is made of and their condition.
FIG 5.1 This concept art is beautiful, but it lacks hard detail that would dictate exactly what textures we should create for the scene.
Concept art and production issues aside, the method for creating these textures relies on a few smaller and simpler textures, so it is a good place to start. It also requires some fudging on the specific details present in the concept art due to the limited set of textures we are working with, which is perfect for this example. Although some texture creation demands a focus on high detail, those textures tend to have limited uses. This method produces textures that can be used in various ways and are designed to be used with shader technology (like bump and normal mapping, and so on). These textures can be mapped in different ways, but because this method is designed for a more advanced game technology, we can also use lighting and other effects to help further contribute to the visual diversity of the scene.
This type of setting lends itself to a general approach to texture creation. A structure such as this one that is industrial or military in nature would actually be built in such a logical and modular fashion. This method can also be used in more traditional settings where shaders will be adding more detail and the artist needs mostly to apply base materials and few detailed textures. I have built Gothic settings using this method and, rather than corroded metal, created various wood and iron trims and fills.
The front plate shows the concept art for the space hallway. Like warehouses full of crates, the space station hallway full of pipes is a game staple. I figured I would stick to the archetypes of game environments so that (after you master these base settings) you can expand outward to your own unique and complex settings that stem from these roots.
Virtually all shaders and/or textures start with the diffuse color. This is the basic color information minus any effects, highlight, reflections, and the like. With practice you will be able to see past all the bells and whistles and extract the basic color information.
Looking past the colored lights, glow effects, and the light suggestion of dirt and wear, we see metal—and lots of it. In fact, this place looks like it is composed entirely of the same type of metal with some specific detail in only a few places. The only textures that need to be created that are not a metal variant are the black and yellow caution stripes and a few minor detail textures.
We will start with the base metal texture and build our set from that. Even the caution stripes are painted over this metal, so they are part of that texture as well. The trick to this method, in which a few textures are used in many ways in a scene, is to build a set of textures that contain a selection of common parts that the environmental modeler will repeatedly use on high-poly-count geometry—things like a grate with an alpha channel, a larger wall panel, a metal fill, and some textures with parts that can be used as trim that will all add rich detail to complex geometry.
Our set will contain the following elements, as described in the next few sections:
• Base metal
• Metal fill
• Wall panel
• Floor panel with (alpha-channeled) grate
• Detail texture: Vent/panel/bracket/hose
• Pipe
• Caution stripes
Base Metal
The metal in this scene appears to be an industrial-type metal used for mass fabrication. It wasn’t created to look pretty. I am sure the bureaucrats who had to handle this large job wanted something durable that met their specs and was cheap. No money was wasted on fancy finishes or frills. This metal might have been loaded and unloaded many times before it reached its final destination. Then it was manhandled (or robot-handled) in the construction of this outpost. So we will start by creating a flat, mottled, and less-than-perfect tiling sheet of metal.
Note
Throughout this book I use a simple convention to tell you what to do in Photoshop; this convention is centered around the menu commands for clarity’s sake. I do suggest you use the hotkeys if at all possible.
1. Open Photoshop and create a new file: File > New…. We work from big to small, so make this image 1024×1024 pixels. Name this image sci_fi_metal_base and save it.
2. Create a new layer (Layer > New > Layer).
3. Press the D key to reset your colors to black and white.
4. Press the G key to activate the Paint Bucket (make sure that the Paint Bucket and not the Gradient Fill is selected in the toolbar) and fill this layer.
5. Filter > Render > Clouds.
6. Filter > Render > Difference Clouds. Use Ctrl+F and run this filter five times. I chose five times because the difference (although subtle) just looks right to me after five applications of the filter.
7. Filter > Noise > Add Noise: Amount 7.5%. Change your noise settings in the dialog box to Monochromatic and Gaussian.
8. Image > Adjustments > Brightness/Contrast: Contrast −70. In newer versions of Photoshop, check the Use Legacy box.
9. Filter > Artistic > Colored Pencil: Pencil Width 6, Stroke Pressure 8, Paper Brightness 20.
10. Filter > Artistic > Fresco: Brush Size 2, Brush Detail 8, Texture 1.
11. Fade the Fresco (Ctrl+Shift+F): Opacity 50%, Blending Mode: Multiply.
12. Filter > Render > Lighting Effects. Match the following settings:
Light Type: Spotlight
Intensity: 18
Focus: 63
Gloss: 68
Material: 25
Exposure: −16
Ambience: 32
Texture Channel: Blue
Height: 71
13. Filter > Artistic > Plastic Wrap: Highlight Strength 4, Detail 7, Smoothness 3.
14. Filter > Sketch > Chrome: Detail 5, Smoothness 5.
15. Fade the Chrome: Opacity 50%, Blending Mode: Exclusion.
16. Image > Adjustments > Brightness/Contrast: Brightness 10, Contrast −20.
17. Filter > Brush Strokes > Accent Edges: Edge Width 2, Edge Brightness 18, Smoothness 7.
18. Fade the Accent Edges: Opacity 60%.
19. Filter > Render > Lighting Effects. Use the same settings as before. The settings should still be set since you just ran the filter, but double-check.
20. Fade the Lightening Effects: Opacity 40%, Blending Mode: Exclusion.
21. Tweak the contrast and resolution. I set the brightness to −18 and the contrast to 47.
22. Copy the layer and offset it, then erase the seams so that you end up with a tileable image. Your image should look like the finished metal at the bottom right of Figure 5.2.
FIG 5.2 The steps to create the base metal for our scene.
FIG 5.3 Metal fill is used to fill in areas that don’t need a lot of detail. Here is our metal fill in the scene.
Metal Fill
The metal fill texture doesn’t need to be as big as the base metal. The base metal is used to create the larger textures such as wall and floor panels. The fill needs to be just a small texture created from the base that is much lower in contrast so that it can tile over surfaces you want filled with metal. It is small for memory efficiency, too. I simply copied a 256×256 portion of the base metal into a new image and lowered the contrast a lot. You can make lighter and darker versions of the fill based on your needs. I only needed a darker one. You can see the metal fill in Figure 5.3 and how it would be used.
Wall Panel
Now that we have a base metal, the rest is easy. Making this tiling wall panel will also be easy because (1) they are supposed to be modular and logically we can get away with repeating parts, and (2) these wall panels can be pretty simple, since they are hidden behind all the pipes.
1. Open a copy of the base metal we created and save it as sci_fi_metal_wall.
2. You will be applying a layer style to this image and you can’t apply layer effects and layer styles to a background, locked layer, or layer set. You need to duplicate the layer so you can apply effects to it. Name this layer base.
3. Apply the Inner Glow layer style with the following settings:
Structure:
Blend Mode: Vivid Light
Opacity: 65%
Noise: 19%
Color: RBG: 216,216,216
Elements:
Size: 16 px
Quality:
Range: 50%
4. Apply the Bevel and Emboss layer style with the following settings:
Structure:
Style: Inner Bevel
Technique: Chisel Hard
Depth: 81%
Direction: Up
Size: 2
Shading:
Highlight Mode: Screen
Opacity: 51%
Shadow Mode: Multiply
Opacity: 75%
5. Create a new layer (Ctrl+Shift+N) and name it Panel.
6. Set your grid to 32 units (Edit > Preferences > Guides, Grid…).
7. Using the Polygonal Lasso, outline the shape shown in Figure 5.4. You can do whatever you like here, but the pattern I used was designed so that I could use it in a few places—specifically, the trimmed edges and the crossbar.
8. Fill the selection with any color.
9. Set the Fill of this layer to 0.
10. Apply the Drop Shadow layer style with the following settings:
Structure:
Blend Mode: Multiply
Opacity: 23%
Distance: 15 px
Size: 73 px
11. Apply the Outer Glow layer style with the following settings:
Structure:
Blend Mode: Color Burn
Opacity: 25%
Noise: 15%
Color: black
Elements:
Technique: Softer
Size: 46 px
Quality:
Range: 50%
12. A white inner glow with some noise and the right blending mode can make the edges of the metal look scratched and worn. Apply the Inner Glow layer style with the following settings:
Structure:
Blend Mode: Vivid Light
Opacity: 92%
Noise: 19%
Color: RBG: 190,190,190
Elements:
Size: 54 px
Quality:
Range: 40%
FIG 5.4 The pattern for the wall panel.
13. Apply the Bevel and Emboss layer style with the following settings:
Structure:
Style: Inner Bevel
Technique: Smooth
Depth: 131%
Direction: Up
Size: 6
Shading:
Highlight Mode: Screen
Opacity: 75%
Shadow Mode: Multiply
Opacity: 75%
At this point, I turned my grid back on and used a very hard, small brush (3 pixels) and erased a small gap in the panel horizontally across the canvas. Do the same on your image, which should look like Figure 5.5. Take note of where the gaps are.
FIG 5.5 The wall panel with frame. Notice the gaps in the frames. This allows us to use this texture as trim in various places. The image at the right is a variation of the wall panel.
• Create another layer and paste the layer style from the panel layer into it. You will have to go into the layer style and make the Bevel and Emboss depth deeper. On this layer, you can add the little squares on the edges. They are 64 pixels wide and 22 pixels high. I offset the left and right columns of these shapes vertically by one shape, so when the texture tiles, the shapes look like they are interlocking.
To create another version of the wall panel reminiscent of sheet metal:
1. Copy the Panel layer and delete the contents of the layer using Ctrl+A and Ctrl+X.
2. You will be left with an empty layer that still has the same layer effects applied to it.
3. Create new panels. I used the grid again and created those simple panels. I did tweak the Bevel and Emboss style.
Floor Panel with Grate
The floor panel is very similar to the wall panel; in fact, you can use a copy of the wall panel to create it. Make sure that you are using a copy!
The floor is more complex and involves creating an alpha channel for the grate and creating a diamond plate pattern. We will also put a little wear and tear on the floor:
1. Name your new image sci_fi_metal_floor.
2. Go to the Panel layer and Select All (Ctrl+A) and press Delete. The layer is still there with the layer styles; it is just now empty. Fill the layer with any color.
3. Select the layer the base metal is on (it should be below the panel).
4. Filter > Brush Strokes > Crosshatch: Stroke Length 33, Sharpness 12, Strength 1.
5. Fade the Crosshatch: Opacity 50%, Blending Mode: Overlay. This makes the metal look duller and scratched.
6. Image > Adjustments > Brightness/Contrast: Brightness 5, Contrast 50.
7. Drag out a vertical guideline. Make sure you have “snap” on so this line will snap to the center of the image (View > Snap To > All).
8. Go back to the Panel layer and erase a line down the middle using a hard 9-pixel brush.
9. Select All and Select > Modify > Border: 8 pixels.
10. Press the Delete key to remove the very edges of the image. Deselect your image.
11. You can turn the Drop Shadow and Outer Glow effects off the Panel layer. Make sure the Fill is set to 0.
12. On the base metal you can use the Dodge tool and a soft 45-pixel brush to subtly augment the Inner Glow, making the corners and a few random spots give a bit more wear to the metal than the rest.
13. Duplicate the Panel layer and delete the contents. Turn off the Inner Glow effect and, using the Polygonal Lasso, make a shape for a frame on the left side of the image that is only two grid units wide (64 pixels) and is only on the two vertical sides of the image. The inside edges of this frame need to be straight. See Figure 5.6 for reference.
I also made another layer that added some complexity to my frame. There are seams where parts fit tightly together on the frame; these are just another frame layer with fitting pieces. You could also accomplish this by using the eraser with a small, hard brush on the same layer.
1. Duplicate the layer style of the Frame layer.
2. Copy the base metal layer and paste it, creating a new layer under the Frame layer. Name this layer Grid1. We can’t set the Fill to 0 for the grid, because the parts of the grid overlap each other, so we need to use some of the metal.
3. Use the Marquee selection tool on the grid to create one-unit-wide vertical bars that are one unit apart and fit between the frames. Invert the selection and delete the metal outside the selection.
4. Paste the layer style and make sure that the Inner Glow is not too big and that there is a subtle drop shadow and faint darkish Outer Glow. Even though we will be creating an alpha channel for the grid, you will still see the areas where the bars overlap and the shadows will be noticeable.
5. Create a horizontal version of these bars on a layer underneath the vertical bars. Your image should look like Figure 5.7.
Now we will create diamond plate. You will recognize it when you see it if you aren’t familiar with the term. It is a common texture, but like most things, if I can make it in Photoshop and have it tile perfectly and be totally flexible, I will do it. Spending the time up front to make an image or pattern that I can completely and quickly alter will speed up my work considerably in the long term.
FIG 5.6 The floor panel, more beat-up. The beginnings of the frame are in place.
FIG 5.7 The floor panel with the grid in place.
Now look at Figure 5.8. To make diamond plate, make the first diamond. This is nothing more than the space where two circles intersect. Fill a circular selection, move it over, invert it, and use it to delete the portion of the circle outside the diamond. Creating this pattern can be accomplished in many ways; there are numerous patterns for diamond plate, or you can even create your own.
FIG 5.8 The diamond plate pattern starts with one diamond duplicated and rotated on the grid. There are numerous patterns you can use to create diamond plate.
Diamond plate is usually seen as a diagonal pattern, but I just tiled them straight up and down on a canvas larger than I needed, rotated it 45 degrees, and cropped the image down to 512 pixels. This pattern can be made into a diamond plate texture or dropped into an image with Fill at 0 and layer styles applied. In this case the pattern was pasted into its own layer, the layer style copied from the Frame layer, and the Fill set to 0. I also dropped the opacity down to 25%. See Figure 5.9.
FIG 5.9 The floor panel with diamond plate added. We don’t want our space marines to slip and fall.
To finish this texture, I pasted a copy of the base metal at the very top of the layer stack and set the opacity to 50%, set the blending mode to Overlay, and colorized (Ctrl+U) the layer to a desaturated orange-brown. This gives the metal a nice light swathe of rust, as though it has been in place a while and is used enough to keep the rust worn away but not cared for so much that it shines. This also makes the entire texture look consistent and blends the elements together visually.
Alpha Channel (Opacity)
Finally, we must make the alpha channel for the grate. This is a great opportunity to understand how an alpha channel works. Take note of how the black and white in the final alpha image effect the outcome of the texture when applied as a transparency mask. This is only a black-and-white image. You will see how the same type of image is also used to control the brightness, shininess, and many other aspects of a shader later on:
1. Create a new layer on the top of the stack (Ctrl+Shift+N).
2. Fill this layer with white: Press D to reset your colors, press X to swap them, and press G to use the fill bucket.
3. Hold down the Ctrl+Shift keys and click on the icons for the grates and frames layers.
4. Hold Ctrl and press the I key to invert the white to black.
5. Select the white half of this image with the Marquee tool and fill it with black.
6. The grate holes should be the only white that you see. Figure 5.10 shows the alpha image for this texture.
Detail Texture: Vent/Panel/Bracket/Hose
Now we will create a texture that contains various areas of detail, such as a vent, a panel, and two strips for a bracket and a hose that are able to tile horizontally. These small detail pieces can be mapped in various places to add a lot of visual variety.
1. Open a copy of sci_fi_metal_wall and save it as sci_fi_metal_details.
2. Remove all but the Base and Panel layers.
3. Delete the contents of the Panel layer by selecting it all and pressing Delete.
4. Set the Fill to 100%.
5. Use guidelines to divide this texture evenly in half vertically and horizontally. Make sure that snap is on. The lines should be at the 512-pixel point on a 1024 image.
6. Create a new layer set and name it Vent.
7. Put the Panel layer in this new set and rename it Vent Frame.
8. Copy the base metal and paste it into the new Vent Frame layer.
9. Set the grid to 32.
FIG 5.10 The alpha image for the floor panel grate.
10. Use the Marquee selection tool with the grid and delete the metal, leaving only a square in the upper-right side of the image.
11. Use the Marquee and the grid again to delete the center of the square, leaving a one-unit (32-pixel) frame.
12. Change the following settings in the layer styles:
Drop Shadow:
Distance: 8
Size: 10
Inner Glow:
Choke: 10
Size: 18
Bevel and Emboss:
Highlight Mode: Soft Light
13. Duplicate the Vent Frame layer and place it below the Frame layer.
14. Name this new layer Vent Louvers and delete all the content from the layer.
15. Set the Fill to 0.
16. Use the Marquee to select the empty space inside the vent frame and fill it with a color.
17. Use a small, hard eraser (3 pixels) and erase lines every two units on the grid.
18. On the Frame layer, you can play with the Outer Glow size and opacity to get the vent to look dirtier around the louvers underneath. Your image should look like Figure 5.11.
FIG 5.11 The vent on the detail texture.
FIG 5.12 The panel details. The layer effects of each layer set have been masked.
You will notice that this next part of the texture is created in the same way as the previous part. Here you will create a simple panel with some detail on it.
1. Duplicate the Vent layer set and name it Panel.
2. Delete the Louver layer from the new layer set.
3. Delete the contents of the Vent Frame layer and rename it Panel.
4. Set the Fill to 0.
5. Fill this new layer with a color.
6. Using the Marquee selection tool and the grid, Delete all but the upper-left square of this image. I erased some lines down the center of this panel to create a few smaller panels.
7. Duplicate the layer again and place it above the Panel layer. Name it Panel2.
8. Change the Outer Glow settings. Take the Choke down to zero and lower the size to 29 px.
9. Add a Gradient Overlay. Set the Blending Mode to Color Dodge and the opacity to 20%.
10. Using the grid and selection Marquee, create a few random shapes and invert the selection, then delete the metal around your shapes. Your image should look like Figure 5.12.
Note
At this point, you will notice that the layer styles from the various layer sets overlap each other. You can create a layer mask for an entire layer set and mask the section off.
FIG 5.13 The horizontally tileable bracket.
1. Duplicate the Panel layer set and name it Bracket.
2. Delete the Panel layer.
3. Delete the contents of the Panel2 layer and rename it Bracket.
4. Adjust your layer set mask so that it only reveals the 1024×256 rectangle below the middle of the image.
5. Open the Layer Styles and turn off the Gradient Overlay and apply a Color Overlay. Set the opacity to 25% and the color to RGB 84,68,39.
6. Select the 1024×256 area of this layer and fill it with a color. Keep this region selected.
7. Because the Layer Fill is set to 0, we are seeing the layer style and effects of the bracket layer and the texture of metal is from the base layer. Go to the base layer.
8. Filter > Brush Strokes > Angled Strokes: Direction Balance 50, Stroke Length 23, Sharpness 4.
9. Fade the Angled Strokes (Ctrl+Shift+F): Opacity 70%.
10. Go back to the bracket layer and delete some sections of the rectangle to look like Figure 5.13.
• To make this image useful, I selected the area and copied all layers (Ctrl+Shift+C).
• Then I pasted this into a new top layer and offset it so that I could clean it up and make it tileable.
Now do the following:
1. Create a new layer set and name it hose.
2. Create a new layer and name it hose.
FIG 5.14 The horizontally tileable hose and the final texture.
3. Adjust your layer set mask so that it reveals only the 1024×256 rectangle at the very bottom of the image.
4. Copy a 1024×512 section of the base metal layer and paste it into the hose layer. Make sure that it is snapped in place along the bottom.
5. Filter > Brush Strokes > Accent Edges: Edge Width 2, Edge Brightness 18, Smoothness 7.
6. Use the grid, the Dodge tool, and a soft 65-pixel brush to put vertical highlights evenly spaced along the hose. Do this again with a smaller brush (27 pixels).
7. Create shadows between the highlights with the Burn tool.
8. Create a new layer and name it ridges. Set the Fill to 0.
9. Use a small, hard brush (13 pixels) and draw the vertical ridge lines on the light part of the hose. You can use the Offset Filter horizontally to make sure that the ridges are consistent across the hose.
10. Apply the following layer effects:
Drop Shadow: Default settings.
Outer Glow:
Color: Black
Blending Mode: Normal
Size: 18 px
Bevel and Emboss:
Technique: Chisel Soft
Size: 3 px
Your image should look like Figure 5.14.
Pipe
We need to make a tileable strip of shiny metal for the hydraulic pipes on the door. We can also use this technique to make a few of the pipes in the hall shiny, as though they were just installed or repaired.
FIG 5.15 The pipe texture and the texture in use.
1. Open a copy of the Metal Fill and save it as sci_fi_metal_pipes.
2. Crop this image down to a one-to-four ratio: 512×128 or 256×64, depending on the file size you are working with.
3. Lighten the metal using Levels (Ctrl+L).
4. Lower the contrast.
5. Run the Spatter filter on this.
6. Use the Burn and Dodge tools to put horizontal highlights down the center of the pipe and shadows below and slightly on the top of the pipe. Figure 5.15 shows the pipe texture and the texture in use.
Caution Stripes
The caution stripes start as nothing more than black and yellow alternating strips. You can create them vertically, and the artists can later rotate them 45 degrees on the model. The work is in making the stripes look painted on the metal.
1. Open your base metal and save a copy as sci_fi_caution.
2. Create a new layer and name it stripes. Fill the layer with dark gray RGB 66,66,66.
3. Turn on the grid and make the yellow stripes 3 units (96 pixels) wide. Use a yellow RGB 234,219,111.
4. Filter > Noise > Add Noise: Amount 6%.
5. Filter > Artistic > Colored Pencil > Pencil Width 10, Stroke Pressure 6, Paper Brightness 21.
6. Filter > Blur > Gaussian Blur: 3 pixels.
7. Filter > Sketch > Torn Edges > Image Balance 25, Smoothness 12, Contrast 12.
8. Set layer Blend Mode: Soft Light, Opacity 75%.
9. Use various erasers and make some subtle worn spots and scratches in the paint.
10. You will have to offset the stripes and remove a hard edge. See Figure 5.16.
Here is the complete scene using the textures we just created (Figure 5.17).
FIG 5.16 The caution stripes.
FIG 5.17 The final scene with the textures that we just created.
FIG 5.18 The texture set with a rusted overlay: a quick and simple step that changes the scene dramatically.
In this exercise, I attempted to emulate the concept art as closely as possible, but I also did a variation that took me only a few minutes.
I put a rust overlay on the textures and changed the lighting in the scene. Because the lights are no longer glowing so brightly in this darker scene, I made a little yellowish dirty texture for the glass. See Figure 5.18 for the rusted texture set and Figure 5.19 for the texture set in use. In reality, you would use various types of assets to create a texture. Even if you do everything in Photoshop, nothing replaces the look of adding an overlay of a quality digital image. Several overlays are often used in texture creation. The overlay for this exercise is in the library of images that accompanies this book. Try other overlays for various effects.
There are a couple of shaders used in the final scene that add a great deal of visual richness to the scene: illumination, opacity, and bloom. Although bloom is often a shader assigned to a material that doesn’t require any special work on the part of the texture artist, illumination maps can be created in several ways for various effects. The simplest way is to start with a solid black layer in the source file of your texture and paint in the areas you want lit with white. In the case of this scene, look at the texture set. We actually created an opacity mask for the grate, so let’s make a quick and easy specularity map for the metal—the metal wall, specifically, because it has lots of edges for wear and tear and it is everywhere in the scene.
FIG 5.19 A variation with a simple rust overlay and lower lighting.
1. Open the file for the image that you created for the wall texture. You should have named it sci_fi_metal_wall.
2. You can create a copy of this image or create a new layer by selecting all (Ctrl+A), copying all layers (Ctrl+Shift+C), and pasting the result on top of the stack of layers. Name this layer specularity.
3. Using the brightness and contrast, do the following: Image > Adjust > Brightness/Contrast: Use Legacy, Brightness −39, Contrast 77.
4. I ran the Crosshatch filter on this: Filter > Brush Strokes > Crosshatch: Stroke Length 7, Sharpness 3, Strength 1. This helps make the wear look more scratchy. In Figure 5.20, you can see the texture with and without the specularity map applied.
This chapter was the first tutorial chapter in the book. It introduced you to the most basic shaders and the basis of almost all shaders. Now that you have seen what this chapter has to offer, I hope that you are prepared to understand how shaders work, from the simple to the very complex.
FIG 5.20 The wall texture with and without the specularity map applied.
Go back through this chapter and create a texture set that is uniquely yours by altering the following:
1. The roughness of the base metal and/or the color of the base and fill.
2. The pattern used to cut the wall panel.
3. The pattern used to cut the floor panel. Try the floor without a grate or using all grate.
4. Change the pattern on the diamond plate.
5. Create your own details for the detail texture. Keep in mind how this texture is used in the scene in this instance.
6. Create a set of overlays to achieve a moldy look, a rusty look, a dusty look, and/or a cold look.