<strong>3D</strong>CREATIVE MAGAZINE | Creating textures for sci-fi spacecraft Keeping that knowledge in mind, I start to build all the maps simultaneously in Photoshop, adding details, damage, dirt, and so on, step by step in different layers while constantly checking the process in Marmoset Toolbag 2. Establish the different colors: To start 06 the texturing process, I first establish all the colors of the ship. I create a base layer of solid color that is the base color of the ship (in this case, blue). On top of this one, I start to create more solid color layers with all the different colors, and mask the desired pieces of the ship (I use the mask map I previously made in 3ds Max to help me select the areas and mask them). I basically make variations of blue, some black pieces and some different tones of gray. To learn about the PBR Metalness/Roughness workflow in depth, look up Allegorithmic’s comprehensive documentation The colors in this case represent the paint on the metal, so the roughness map should be the same in all the colors, even though I prefer to add some variation to break the homogeneity. Establish the different colors of the ship and add some variations in the roughness map The metal map is all black for now since I haven’t established any raw metal yet. Add metal textures: Once I set up all 07 the colors, I move on to add the metal textures. I choose one metal map from www. textures.com as my base metal and duplicate it to fill the whole canvas. I use it in Overlay blending mode to get a very subtle effect. On top of this, I add a scratch map (also found in www.textures.com, and modified by me) at 60% opacity so the scratches are not very strong and evident in the render. In the roughness map, I desaturate the metal texture and use it in Multiply mode. I also move the arrows inside the Blending Mode option window so only the darker tones remain visible. I want the metal texture to be dark here, so these areas look shinier. For the scratch map, I invert the colors so they become black and use it in Multiply mode. 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. Adding the panels map: To add even 08 more variation to the different colors, I add a panel texture from Total Textures v7: Scifi. I use it in Overlay with a very low opacity and modify the Levels to add more contrast. I only use this map in some blue areas, so I make a mask to specify it. For the roughness map, I desaturate the map and use it at very low opacity, tweaking Levels for more contrast. The metalness map remains unaffected by the panels. I also convert the desaturated map into a normal map to create more distinctions in the render. At this point you should feel that the ship is made of metal and has been painted, and the damage should look natural. If it doesn’t, go back and play a bit with the albedo, roughness and metalness maps, changing the values and balance of colors, and so on. In this tutorial I’m showing you the final result, my final colors and roughness values, but they took me a lot of time and testing until they looked good and natural. Feel free to change them as much as necessary until they give you a great result. <strong>3D</strong>CREATIVEMAG.COM
<strong>3D</strong>CREATIVE MAGAZINE | ISSUE 124 Add metal textures and scratches. Darker in the Roughness map to suggest a smooth material and Lighter in the Metalness map to suggest the metal underneath the paint colors Add an extra panel map to get more variations in color and roughness/smoothness 73
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