In this lecture, we'll look at the technique of texture painting as a way of adding textures to objects.
So here's what we got up to last time, and I've got one more stone to texture.
I'll just bring my shade of ed down slightly.
And one of these stones was the original.
So I select one and press and bring up my toolbar and go to item and one of them should have a scale
of one and I can tap through them until I find the original, which is this one.
And that's the best one to do any editing to because it's got uniform scale so we can make modifications
and we don't have to apply the scale before we do those and therefore mess up any of the other linked
duplicates.
Like I say, it doesn't matter too much as we did with the smaller one.
We chose one that was non-uniform scale and it hasn't really made much of a mess of the textures or
anything like that.
So you can kind of ignore that warning message to a degree.
But if I had scaled this a lot in one direction, then would start to see some stretching of the textures.
So in order to texture paint, I would need to unwrap my model.
So I'll go across to the movie editing workspace.
I'll press period key on my numpad to zoom in on my object and it's put us into edit mode because you
need to be in edit mode to unwrap, but you can see it's still got the bevel modifier and I need to
apply that before unwrapping, otherwise I'll get those problems in the corners when I texture.
So if I go across the modifiers, I can't apply this at the moment and it's grayed out, the first reason
being that it's in edit mode.
So I go to object mode with tab back again and once again I can't apply it because it's multiuser data.
So once again I need to separate this from the other ones.
So object relations make single user object and data.
Now I can come up and apply my bevel modifier.
Now when I go into edit mode, you can see it's being applied.
So take a quick moment to catch it with me.
Find your original stone that has a scale of one.
If for some reason you've scaled it, don't worry too much.
If it's slightly out, just find the closest to uniform scale.
And by that I mean if I go into object mode that these numbers would be all the same to be uniform,
so close to uniform will be fine.
So pause the video and catch up with me.
Okay.
I'll press and on my toolbar again to get rid of that and we need to unwrap this.
So I'll go into edit mode and cubes are fairly easy to unwrap.
We could do the same as we've done before.
Mark the seams out.
But with texture painting comes a slight advantage that you don't have to worry too much about your
unwrap.
If I select all and press you to unwrap, I can use the smart UV project option.
If I take on that, it gives me a dialog box and generally you can keep everything to its default.
The island margin though we will want to put up 2.1 as we did before with our normal unwrap and press.
Okay, and you can see it split it into several islands.
This is where you could play with the angle limit.
The angle limit is what decides on the island size and an angle limit of 89 is giving us a good result,
taking up most of the texture, space and not too many islands.
Now, with an object like this, it's fairly quick to unwrap it manually by marking out the seams ourselves.
But you can imagine if we had a more detailed object that doing an automatic unwrap like this could
save us a lot of time.
Generally speaking, the more islands you have, the worse the unwrap is, and you want to try and minimize
that where you can.
But again, for texture, painting is not too essential and you can get away with a lot.
But like I say, for optimal models, let's say you were selling your models online.
Ideally you want the lowest island amount possible and therefore that should make it less seems so take
a moment, catch it with me and use the smart UV project to unwrap your model.
Remember to be in edit mode and select everything with a then new to unwrap smart easy project, then
play with the angle.
You'll probably have something similar to mine.
So 89 is the maximum you can go to try and take up all the texture space and remember to put the island
margin at point one, post the video and have a go at that.
Now, at the moment, we can't see the seams on our object.
That's because it hasn't actually got any.
Seems if you want our islands and seems to be marked from what we've got here, you need to select them
all in the movie editor that is, and go up to UV scenes from islands.
And then we can actually see all our seams on our stone and you can kind of see how it's slightly awkward
and gone around the corner rather than following straight lines in places.
And that doesn't really matter, especially for texture painting.
So now that we've got our model unwrapped, we can start texture painting, and we do that in the texture
painting workspace.
Now, when you go into this workspace, it puts the mode into texture painting.
I'll zoom in on our object with Period Key, and it's purple at the moment because it has no material
or textures.
What I also like to do is put it into material preview mode.
I think that's a little bit better for beginners to visualize.
Now, what I like to do is pull out a new window, so come up to the corner with the crosshairs, click
and drag to create a new window and change this to the shade.
Editor I press and get rid of this panel.
Then we can see what's going on with our material when we start texture painting.
Now also, when we go across the texture main mode, we've got our active tool and workspace settings
and you can see it's got a texture slot option here.
And at the moment it's got no textures.
In fact, it's got no material at all.
We need to add a texture for us to paint onto, much like these other objects have an image texture
plugged into the colour.
We add a new blank texture into the colour that we paint onto so I can press the plus over here.
And that gives us options of what type of texture do we want.
And you can paint on all these different maps which plug into your principal based if we're going to
choose the base colour.
And then it asks us how do we want to name it and size it and so on.
So I'll call this stone colour one.
The width and height is a1k texture and that's a fine size.
We don't need this special alpha channel because that's a transparent channel that we won't be using.
And we could start off with a colour that's a little bit closer to the other objects.
So a grey somewhere around here perhaps that can help, but it doesn't make too much difference.
Ah, then press.
Okay, now you can see my shade editor.
If I zoom into that, it's created a material with a principle based if and our stone colour one texture
plugged into the colour and it's using the colour space.
S.a.b. I'll change the material name to stone, one that might get a little bit confusing to be honest,
but it's a good idea to keep the name up here the same as the naming convention of your textures.
You can also see on our object that it's turned to that grey colour that I chose, and with my brush
selected here, I can now start painting on my stone.
I do that though, and now's a good time to pause the video and catch up with me.
So add in your new texture slot, which we can paint onto.
Okay.
So we'll go to local view quickly with votes on my numpad and we've got the brush selected here so I
can scroll down.
I can choose any color I like and I can start painting on my object and you can see I can move around
and paint.
And if you want to see what that looks like, we can always open it up in here.
And these are all the textures that this blend of tile is using.
Somewhere along here we've got Stone Color one and you can see the marks that I'm making are appearing
on my texture along through those marks though.
And for your challenge to get you used to texture painting, I want you to change the color to black
and draw maybe a smiley face on your stone, then draw whatever you like in a different color on each
of the other faces just to get used to the brush a bit and changing the color.
So pause the video and have a go.
That's.
Okay.
So hopefully got an okay with that and I'll just do one as an example.
So I'll bring the brightness up a bit and maybe go across the red and draw a circle.
Now that's not so great and it is quite tough to draw with a mouse, although the way will be using
this won't require any artistic skill, so we don't have to worry too much about that.
Now, you may be very proud of your texture painting, and you might want to save it if you do.
It doesn't naturally save.
When you save this file, you actually have to come across to the image editor and under image we've
got an option of save as so we would come into here and save it so on to save it as test for now and
save then when we save our file to account to here save as and this is lecture for texture painting.
So I'll save that.
And I can see in my files that I've got not only the blend files but this test texture as well.
So it saves the textures as a separate file from our blend file.
So it's important to understand that and remember to save your textures when you edit them.
So hopefully that's good news to the idea of texture, painting and as always, make sure you've saved
your work and your texture if you want to keep it ready for next time.