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Welcome back! Manu here, let's keep painting
our non-photorealistic texture in part two of
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the tutorial. let's start with the ground, so first
select the ground and go to the texture painting
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mode, select a nice color, maybe the base color but
with a little bit of brighter value and saturation
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it's not really a new color indeed as it comes
from the orange family, one of the five colors
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from our limited color palette, so i have just
picked the less saturated and slightly brighter
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variation. time to spice it up with some details,
i'm just gonna treat it in a very relaxed manner
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placing brush strokes here and there with a
smaller brush, you can change the size using
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F, i'm not using any effects like jitter, it's
just multiple clicks, i'm using a tablet tool
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so i play with the pressure. just as a reminder we
are still painting all the way through the mesh
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as both the occlude and backface cooling options
are turned off. let's turn them back on in the
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right hand menu, as we don't want to paint the
dots on top of what's already being painted on
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the other side of the mesh, turning it essentially
into stylized cheetah :) what i'm doing with these
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scattered dots here is that i'm starting to
add a little bit of variation here and there
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the slash key on the numpad allows to isolate
the mesh we are painting on, it's pretty useful
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when it's occluded by something, as you can
see my details are quite abstract, especially
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when seen from the orthographic perspective, it's
really an abstract painting to some extent, it's
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an adventure of color which is exciting by itself
even when taken out of context of this mailboxing
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now i realized i need to increase the bleed value
for the texture islands. in the top menu within the
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options tab i'm changing the bleed value to 12
pixels, here i can show you how it affects for
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example the grass objects, so go to the UV editor
and select the texture we are painting and then
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let's paint on top of the grass, again now with
the increased bleed value so let's re-enter the
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texture painting mode by hitting Ctrl Tab and
i'm gonna paint this grass comp, see what happens
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i'm gonna zoom in to see what's going on
with our grass blades, so now more paint
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is laid down further beyond the borders of the
uv islands when we paint, this ensures that there
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will be no different colors in the edges of the
object or the texture islands. this is why you need
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bleed, you see, if you have a bleed at 0 and you
paint on the uv islands, the background color will
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be seen at the edges like you can clearly see here
some bleed is needed, however, when you use bleed
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it's important to have enough margin between
the uv islands, as you can see here, we didn't
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have enough margin, so the bleed actually bleeds
on top of another color or another uv island
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so when you do uv unwrapping, make sure to put
some island margin to the settings so that
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the bleed doesn't bleed on other uv islands, now
you don't have to worry about the bleeding issue
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anymore. then i continue to give some brighter
color to the grass blades, once again, i have
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the occlude and backface culling off, so that i
can paint through the object this way it's just
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faster, it's like treating 3d like 2d, like there
is no such thing as the other side of the plane
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now would be good time to save in addition to
saving the .blend file you need to also save the
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texture file otherwise the hand painted stuff
will be... poof!... gone as soon as we close Blender
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so we take this over not closing Blender for
forever. really that's like our two options.
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okay the texture can be saved from the uv
editor, just select your texture and go to
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image and save as and then save your image.
any uncompressed format will do png or tiff
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then i start to paint the
pole or the stick of the mailbox
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i increase the opacity of the wireframes to help
me guide with the edges and here is some kind of
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splinter in the stick, i put some edges for
that as well, the splinter also needs our love.
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and here i paint some kind of grooves to give
some nice detail for the stick, because ultimately
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every stick wants to be unique :) for
this i paint all the sides individually,
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not by painting through the object, this gives
some uniqueness to all the sides, the advantage
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of following the NPR approach or to texturing is
that every pixel of the texture can potentially
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be unique and here i add some shadows from the
mailbox and ground, i'm using a darker shade of
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brown to simulate the shadowing, just laying some
semi-transparent brush strokes to darken things
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down. actually let's pause here for a moment
and talk about two kinds of hand-painted looks.
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some artists don't mind rendering engines adding
light simulation on top of their carefully crafted
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textures so they treated these textures
like it's albedo textures, that describe the
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color of the material, but the final look is
aged only after light sources come into play
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the other bunch of artists would rather prefer
baking in or better painting in all highlights
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gradiens and shadows like i'm in control i want
to make this shadow reveal a demonic character or
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something like in this amazing scene by Luis,
that's a different approach that is probably
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slightly less universal because you can't change
the sun angle and stuff like that on the fly, but
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it is amazingly powerful as well, or you can
ditch those shading things at all and revel
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in flatness, that's also sexy and lets hand painted
textures shine. and of course there are many stops
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in between those styles, for example, you can paint
some ambient occlusion like we do here and let the
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render engine do its job. i think our mailbox will
be displayed without generated shadows in the end.
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but because we are not really breaking heart
shadows in, we would be free to use light if
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we wanted to. alright folks! that's it
for the second part of the tutorial,
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in the next one we'll finish detailing
this handcrafted texture, so see you there!
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