Maya 2013 video Tutorial – Modeling Strawberry and easy texturing. This video tutorial will show you how to basically model and texture a strawberry. This video tutorial is for almost every level.

Question: I actually need a few help ive been having a problem in Maya its that whenever I make a polygon it doesn’t mechanically spawn at the pivot point so, I have to scale the object on my own without it appearing automatically on the pivot point, so that’s my first problem and my second problem is that every the polygon icons suddenly disappeared and all it displays now is a bunch of word like for example a cube it doesn’t actually show the cube icon every it does it shows the word cube… I really require help.

Answer: For the first issue. It’s not actually a problem, but a feature. Under make polygon primitives, look every the way down and uncheck where it says “interactive creation”. I am not sure what you mean for second problem. Do you mean the icons under make polygon primitives menu? Because I don’t think it displays icons at every one.

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This tutorial is about texturing in Maya for a given file. You would have learned about something about texturing in Maya in previous part. Now we shall do some advanced work for texturing.

The model is already created, so browse it from drives and use it for texturing. Go to window menu and then heypershade which is used for texturing. There are several blinns there which are considered as primary material for texturing.

Choose any one and then click on the icon given in front of blinn icon and it will allow you to browse required texture material. Once you have selected the material then right click on this blinn and choose option assign material to selection.

The material is now assigned to selected object. Take a text render here to view the quality of your model. The model is yet pretty good but proper mapping are required to give it desired shape.
Make sure that history is deleted along with performed project.

The model which is being used in this project is balloon, so the shining is necessary for balloon real look. Add some light affect into material and the render the scene and you will see the shining affect has made the model more realistic and valuable.
For more detail, watch this video tutorial.

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Here in this tutorial, we are going to texture the table in Maya. At this time we have already model of table. Though, the table has rough look, so we shall texture and provide appropriate material to the table to make its look perfect. Go to Hyper shade prospective icon and it will bring you toward material assigning application. The material is provided with empty blinn. Later on,

this blinn is used for texturing and mapping of the model. There are varieties of options there to modify the object completely.

1. Click on the color icon and choose color from color selector. Browse the file here which is required to texture; don’t forget to rename this file.

2. Choose the texture file from drive, now select the object like table and then select the assigned material and by right clicking on it we can assign this material to selected object.

Take a test render at this time and you’ll see it pretty much better. For texturing, choose bump map and browse file for mapping. We can use Adobe Photoshop for this purpose.

Save this mapping file and then assign it to the selected texture in Maya. Take a test render again and this time the result will be quite different from previous one. Try some other texture and mapping file and apply them for your project file and get the experience.

The video tutorial is here to provide you visual learning about texturing in Maya.

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The texturing is an extraordinary feature of Maya. When any model is designed, the texturing and shading is necessary for the best of your model. In case of Maya procedural texture, the image is created quite similar like a real image.

The textured materials are integrated in Maya and these materials are much interfered in rendering. The rendering presents the image with all plug in material using in this model. Solid materials are sometime integrated in model for Maya texture and mostly in 2D objects which appears as tile or thumbnail shape. You can edit the image before using it as reference image in Maya textures.

The editing software like Photoshop is the best choice for editing properly. It allows you to adjust the color and background setting according to your scene demand.

One more kind of texture is cellular texturing which is although little bit different from procedural texturing technique, because this texturing way does not support the noise material at basic level.

This type of texturing is directly applied on 3d objects, if we notice these textures intensely we come to know that present are small point which are called cells. Cellular texturing is the resultant of this continuous series of cells.

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Learn here on this site about Maya modeling and animation. You may also find some secondary application of modeling of Maya here. This tutorial is dealing with texturing application of Maya. It is lengthy process, so it is split into parts and this tutorial is part 1 of 7.

Although it is first part, therefore we shall teach you some basic information about texturing. The partial system makes the user easy in learning the concept in step by step method. Each part contain useful information about relevant concept with related videos.

If you are having problem in oral tutorial, then you can get help from video tutorials. In this part, we have balloon model which is required to assign texturing.

The balloon is being textured with referral image; therefore we can assign material as well as texture material to the object easily. The balloon has stand at the lower side and here we are going to texture this stand. According to reference image, the stand is being colored and textured with blue color. First of all choose texture material for this stand as Blinn.

Now assign this material to selected object and finally choose blue color from color chooser. That’s all, the balloon texturing will be done moreover in next tutorials, so stay here and learn whole concept in parts.

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You can split particle texturing into two major categories: hardware rendered and software rendered. You can allocate hardware-rendered particles, which comprise MuliPoint, MultiStreak, Points, Spheres, and strip, to any material. Though, just the color information is used. In adding, you have to cause to be the particles with the Hardware Render shock absorber window or the Hardware renderer, or else the particles vanish. Though texturing ability of hardware- rendered particles is incomplete, you are free impart exclusive colors to human being particles. To do so, generate a per-particle characteristic with the subsequent steps:

1. Make a new scene. Generate a particle emitter by switching to the Dynamics menu set and choosing Particles / Create Emitter. Open the Hyper graph Scene pecking order window, choose the particle1 node, and open its quality Editor Tab. button to the particleShape1 tab. In the Lifespan Attributes segment, control Lifespan Mode to steady. Modify Lifespan to the figure of seconds you would similar to the particles to exist. In the Render Attributes segment, control the Particle Render Type characteristic to the hardware-rendered element type of your option.

2. In the Add lively Attributes section, click the Color key. The Particle Color window opens. Check the Add Per Particle Attribute check box and click the Add Attribute key. The window closes and the rgbPP attribute is extra to the Per Particle (Array) Attributes segment.

The Per Particle (Array) Attributes and Add Dynamic Attributes sections

3. RMB click the meadow to the correct of rgbPP and decide make Ramp from the shortcut menu. A Ramp texture and an Array Mapper utility are further to the particleShape1 shading network. This is represented by the subsequent text, which appears in the meadow to the right of rgbPP:

4. Open the Hypershade window. Control to the Textures tab. MMB drag the ramp1 texture icon into the employment area. Click the Input And Output relations key (the icon has two arrows bounded by a box). The arrayMapper1 and particleShape1 nodes are revealed. The Array Mapper utility is designed to relate the age of each particle to a location on the ramp texture. A youthful particle receives its color from the base of the ramp. An aged particle receives its color from the pinnacle of the ramp. At this period, the particles just alter from red to green to blue.

5. To create the particle colors additional attractive, open the ramp1’s Attribute Editor tab.

Put in extra color handles into the ramp field. The additional color handles you make, the better the particle variety. Change the Noise attribute to 1 and the Noise Freq quality to 5. The ramp is thus knotted.

6. In a workplace view, check on flat Shade every one. Play the Timeline. The particles take on exclusive colors based on the ramp1 texture. An instance scene, which uses globe hardware-rendered particles, is built-in as hard_color.mb in the Chapter 6 scene folder on the CD.

Hardware-rendered particles colored with a Ramp texture and Array Mapper utility

With this instance, the particles shift through a variety of colors. To allocate an exact color to a particle and have the particle keep that color all through its life, you have to apply an appearance. To become accustomed the particle emitter that was shaped at the start of this segment, carry on with these extra steps:

7. In the Per Particle (Array) Attributes segment, RMB click the meadow to the correct of rgbPP. Highlight the

8. RMB click the field to the true of rgbPP and decide formation Expression from the shortcut menu. The appearance Editor opens. Type the subsequent code into the employment area and click the generate key:

float $r = rand(1) + .25;

float $g = rand(1) + .25;

float $b = rand(1) + .25;

vector $pColor = <>;

particleShape1.rgbPP = $pColor;

9. Play the Timeline. Every particle receives a arbitrarily chosen Red, Green, and Blue channel value, which is stored by the $r, $g, and $b variables. The rand(1) purpose generates accidental values from 0 to 1. A supplementary 0.25 is added to each channel, thereby biasing brighter colors. The three channels are stored in the vector $pColor so that they might be passed to the rgbPP attribute. An example scene is included as hard_color_2.mb in the Chapter 6 scene folder on the CD.

Hardware-rendered particles assigned random, life-long colors

If you’re inquisitive as to which colors are assigned to a human being particle, RMB click over the subdivision in a workplace view, choose Particle from the marking menu, and choose the particle. Decide Window / General Editors / Component Editor and control to the Particles tab. rgbPP R, rgbPP G, and rgbPP B values are scheduled in their own columns.

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Stretched manufacture deadlines frequently require rapid texturing jobs. One trick is to unite general textures within Maya. The Color Gain and Color Offset attributes, general to every texture, provides a well-organized means of achieving this. For instance, when a bitmap featuring a spotless brick wall is collective with decomposed metal and tarmac bitmaps, the end consequence is additional complex and attractive. To attain a similar consequence, open the characteristic Editor tab of the file texture in which the wall bitmap is laden. In the Color Balance segment, click the Map key next to the Color Gain characteristic. In the make Render Node window, click the File key. Load the corroded metal bitmap into the innovative file node. In the new file node’s Color Balance segment, click the Map key alongside the Color Offset characteristic. In the make cause to be Node window, click the File key. Load the tarmac bitmap into the new file node.

(Top left) Clean wall bitmap. (Top right) Same bitmap with the addition of rusty metal and asphalt bitmaps connected through its Color Gain attribute. (Bottom) The corresponding shading network.

Carry on the procedure of nesting file textures within file textures by mapping the Color increase or Color counterbalance attributes. Hypothetically, no boundary exists for the figure of textures that are strung jointly in a solitary shading network. Strictly language, Color Gain works as a multiplier. Anything is mapped to Color Gain is multiplied by the unique map. In difference, Color Offset mechanism as a counterbalance issue. Whatever is mapped to Color Offset is added to the original map. Therefore, Color Gain maps tend to make the end result darker and Color Offset maps be tending to create the end consequence whiter and additional washed out.

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A number of texture bitmaps are additional helpful than others. In information, on one occasion you make a texture library, you might find out your possess favorites that contain a wide variety of applications. The subsequent are suggestions for stocking documentation:

Rustymetal Rusty metal bitmaps are enormously supple. Though their source is clearly tinny, they are outstanding for creating whichever substance that is loud, depredated, or decrepit.

Still if the obtainable colors are not just right, corroded metal can create aesthetic bump maps. If the bitmap color is tweaked in a digital paint program, the suppleness becomes even better.

Ground different ground textures are significant to several modeled set portion. This includes grime, tangible, tarmac, and cover.

Wall Wall textures go away hand in hand with position textures. Photos of splash and tinted drywall are wanted for interiors. Stucco, metal siding, cinderblock, and bricks are wanted for exteriors. The employ of bricks brings up the subject of tiling. A lot of 3D textures made obtainable from side to side texture library CDs and online records feature a little segment of element that is future to be frequent in excess of and over. In realism, photos of brick ramparts at dissimilar scales give the maximum suppleness. For instance, if you require texturing the external of a 3D structure, applying a bitmap that skin tone a 10×10-foot segment of brick wall is far additional persuasive than a 1×1-foot segment that has been cemented frequently. If the model skin tone a lesser segment of element, a bitmap that features a 5×5- or 1×1-foot segment may be very well. Brick is not the just sponsor of manifold scales. Whichever texture, whether it be metal, position, wall, material, or wood, is most excellent represented in the library by the equal of lock up, average, and wide shots. That supposed, the two wall textures that are most excellent suited for tiling are wallpaper and overlay. Presumptuous that the wallpaper or tiles are in high-quality situation, just the key pattern require be captured by the bitmap.

Fabric Though you can be relevant the Cloth texture in Maya in a persuasive method, it cannot photocopy exact wicker or on paper patterns. In adding, the fabric texture does not speak to whichever type of cloth wear and slash. Scans of a variety of cloths, such a denim, silk, and lace, establish to be useful. Scans of decorative or overstated garments are uniformly helpful. For instance, when replicating a couple of jeans, scans of a variety of jean parts can be combined into a texture bitmap. Thus, feature such as edging, buttons, and threadbare holes are captured with no trouble.

Wood Wood is not easy to duplicate with technical textures unaccompanied. Photos of real wood make available the most excellent explanation. Photos featuring uncut wood panels, such a plywood or thin covering, provide you the majority suppleness when positioning the texture on model furnishings or additional artificial substance. Photos featuring interlocking wood slats are perfect for floors or the ramparts of rural buildings. Close-ups of a variety of tree barks are also helpful for re-creating outdoor plants.

Grayscale Grayscale textures are preferably right for a lot of Maya attributes, such as Diffuse, clearness, and Bump Mapping. Maintaining an exclusive locate of grayscale bitmaps gives you additional suppleness when texturing. For instance, an exceptional chart that represents smudges or concentration is helpful for no matter which complete out of goblet. On the additional hand, it is helpful to stay grayscale variations of color bitmaps. For instance, you can regulate a grayscale account of a skin feel and chart it to the Specular Roll Off quality. Though you can be relevant color bitmaps to single-channel attributes, Maya have to inconspicuously exchange their color principles to scalar values. In this state of affairs, difference is more often than not misplaced and the resultant texture is not as perfect.

Project photos and scans exact projects more often than not necessitate exact textures. As such, photos and scans have to be in use. This texture group would comprise printed resources (periodical covers, book pages, on paper notes, labels, posters, and so on) and architectural particulars (partition plates, molding, caution cipher, and so on). On one occasion a scheme has broken, it pays to stay the project-specific textures in the texture library. Though it’s not easy to forecast what the texture supplies of future projects will be, a big texture library can in the end save texturing time. Still if a exacting texture proves to be not viable as is, you might be able to rapidly become accustomed it in a paint program.

Exporting Maya Shaders

A texture library require not be incomplete to bitmaps. You can sell abroad Maya shading networks at whichever point. Exporting the shading network allows you to uphold all the quality settings of the fabric plus uphold relations to a variety of maps and utilities. To sell abroad a shading network, emphasize the fabric icon in the Hypershade window and decide File / Export Selected Network. Exported shading networks are saved, by themselves, in the .mb or .ma format. To import a saved shading network, decide File / Import.

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