WEBVTT 00:00.090 --> 00:04.350 In this lesson, we're going to learn about the three main tool, if you go to your rendering tab here, 00:04.350 --> 00:06.870 you can see the icon right here, three paintable. 00:07.170 --> 00:11.130 You can also get to it from rendering texturing 3D paintable. 00:11.430 --> 00:16.890 So for this lesson, I intentionally chose to take a break from the Ghostbuster trap texturing to texture 00:16.890 --> 00:22.260 this, because I think it's going to be super fun to to learn about the 3D paint tool with this head 00:22.500 --> 00:26.630 so that we can do the DIA de los Muertos type of designs on this head. 00:26.970 --> 00:32.680 So Google some images, get some inspiration and open up the scene, found Maya and let's get started. 00:33.090 --> 00:36.720 So I'm just going to zoom in here. 00:36.720 --> 00:42.090 And so the other reason why I wanted to start with this as well is because it all still has the Lambert 00:42.090 --> 00:42.660 shaders. 00:43.020 --> 00:44.520 So if you right. 00:44.520 --> 00:51.830 Click and go to assign new material, you can see all the Maya surface materials are right here. 00:52.080 --> 00:57.240 And Lambert, any time you make anything in Maya, it's going to give it the Lambert one shader. 00:57.570 --> 00:58.530 So you can see that. 00:58.530 --> 00:59.530 Right, written right here. 00:59.550 --> 01:03.060 Lambert one every piece of geometry that we have is a Lambert one. 01:03.690 --> 01:08.640 And currently the three paint tool does not work with Arnold shaders. 01:08.820 --> 01:14.130 So we have to have a Miah shader assigned for the 3D paint told to work. 01:14.460 --> 01:18.120 So that's why I switched over to this one, because it still has all Lampert's and the Ghostbuster trap 01:18.120 --> 01:19.740 has a bunch of Arnold Shayna's on it now. 01:19.740 --> 01:26.670 So you could, you know, say you're your texturing or your shading and you have all these Arnold Shayna's, 01:26.670 --> 01:31.710 you could revert to elaborate shader and then, you know, from the hypercharged bring in that Arnold 01:31.710 --> 01:32.640 you had been using. 01:32.910 --> 01:37.320 But just for clarity's sake, let's just start from scratch and have a new Lambert on this, because 01:37.320 --> 01:40.830 I don't want to affect the Lammert shader that's applied to everything else. 01:41.190 --> 01:42.660 So let's click Lambert. 01:43.260 --> 01:48.090 And now we can click this button and go into the three paint tool. 01:49.770 --> 01:52.830 So it says, we have no file texture assigned to the current attribute. 01:53.100 --> 01:58.710 And if you look, I'm going all down, be a middle mouse, drag our paintbrush has a big X on it. 01:58.710 --> 02:01.380 So that's a sign that we need to do something. 02:01.380 --> 02:03.660 And we got this little kind of error here. 02:03.870 --> 02:07.530 And also, I should say that errors that show up in yellow are just kind of warnings. 02:07.530 --> 02:08.340 They're not errors. 02:08.340 --> 02:10.680 Anything that shows up in red is actually an error. 02:10.920 --> 02:12.990 So we know that we just got a warning. 02:12.990 --> 02:14.310 So there's something else we need to do. 02:14.310 --> 02:16.110 Let's go in the tool settings of this paint brush. 02:16.500 --> 02:22.770 And the first thing we need to do is go to assign edit textures because it doesn't know where to save 02:22.770 --> 02:25.170 the texture we are about to create with a paint brush. 02:25.470 --> 02:31.290 So we go to assign added textures and we can change the size of the texture. 02:31.680 --> 02:35.040 I always like to go pretty big because you can always scale down the texture later. 02:35.040 --> 02:36.300 You can never scale it back up. 02:36.690 --> 02:42.960 So let's go with four K and I'll hit assign added textures and now you can see the X's gone from this 02:43.290 --> 02:45.990 and we can actually paint on this now. 02:46.470 --> 02:53.310 So I'm going to flood this with a color that is not totally white, has some yellow in it and it's kind 02:53.310 --> 02:54.210 of a bone color. 02:54.210 --> 02:58.410 So I can using the flood tool here, I can flood the entire object with that. 02:58.920 --> 03:02.070 And I've chosen a little red color here. 03:02.330 --> 03:07.290 I'm going to make some designs around the eyes, kind of like the flowers that you see and a lot of 03:07.320 --> 03:10.070 these designs here, these kind of circle areas. 03:10.080 --> 03:13.080 I'm going to start with that base color and go around this. 03:13.380 --> 03:15.690 So if I hold down B, I can change the size. 03:16.680 --> 03:23.250 And there are different brush types here and I'm going to go with the harder edge brush and start painting. 03:24.780 --> 03:28.950 And you can see that my rotation is going to be hard to navigate because I'm rotating not from the pivot 03:28.950 --> 03:29.490 of the head. 03:29.730 --> 03:35.130 So I'm just going to get out of this tool for a second and I'm going to go to view look at selection. 03:35.130 --> 03:36.900 So now it's pivoting from the head. 03:37.380 --> 03:40.470 So it'll make navigating around much, much easier while I'm painting. 03:40.680 --> 03:42.240 So now I can go back into the tool. 03:44.080 --> 03:52.090 And with paintbrush selected, I can start painting, so I'm going to start painting and let's say I 03:52.090 --> 03:56.040 make a mistake, oops, I do something like that, well, I could use the eraser tool. 03:56.200 --> 03:57.220 So let's go to the race. 03:57.550 --> 03:58.570 And I started racing. 04:01.150 --> 04:01.840 And. 04:03.850 --> 04:04.620 That works pretty well. 04:08.780 --> 04:17.030 What it could do is actually erase the flood that you have, so in that case, you can actually just 04:17.030 --> 04:23.350 use the color of the flood and paint over it so we can use the paint tool. 04:23.360 --> 04:24.430 So we'll do the same thing. 04:24.860 --> 04:28.550 So you have those two tools at your disposal if you kind of mess up. 04:29.600 --> 04:31.730 So you also have these other tools here. 04:31.970 --> 04:33.350 You can smear things. 04:35.140 --> 04:41.470 And to kind of blend colors together, we could also blur this out in case the edges are too sharp, 04:41.470 --> 04:42.490 we can blur that out. 04:43.360 --> 04:49.510 So I'm just going to flood the paint again one more time and go back to the color that we had and go 04:49.510 --> 04:50.440 back to the normal paint. 04:50.770 --> 04:54.730 And I'm going to get to painting and I'm going to speed this up and I'll see in a second to show you 04:55.030 --> 05:01.180 what it is we need to do to complete our texture so that Maya knows how to use it. 05:18.020 --> 05:23.450 So now that we have some texture that we like after we've gotten done painting, we can save this out 05:23.450 --> 05:26.140 as a file by going down to save texture's. 05:26.480 --> 05:29.200 If we click this button, we may or may not get an error. 05:29.210 --> 05:31.040 This is just about some little preview thing. 05:31.340 --> 05:35.060 But if we click this little button down here, that's called the script editor and we can see everything 05:35.060 --> 05:37.790 that's been happening in Maya for a while. 05:38.060 --> 05:44.960 So if we look just above the error that it gave us, we can see say it's a saved and it has a file path 05:44.960 --> 05:47.570 and it says JPEG right here. 05:47.930 --> 05:53.180 So if we go to that in Photoshop, we can go to file open. 05:54.140 --> 05:55.460 We can see that file. 05:55.460 --> 05:58.280 And this is the importance of setting your project. 05:58.280 --> 06:01.510 And we learned about this in the first part of this course. 06:01.520 --> 06:03.140 And let me just reiterate it again. 06:03.500 --> 06:08.990 If you haven't set your project, you have to go to set project and choose the main folder you want 06:08.990 --> 06:09.290 to set. 06:09.290 --> 06:09.710 It is. 06:10.010 --> 06:15.530 And then when we go to open things or say things, or in this case, when we were creating textures, 06:15.800 --> 06:17.840 it's going to save it in the correct place. 06:18.080 --> 06:24.050 So if we look in Photoshop, we can see that it is under the Maya folder that we had set as a project, 06:24.050 --> 06:25.280 the source images folder. 06:25.490 --> 06:30.320 And then there's three paint textures and then it has the object that we painted on or the same file 06:30.320 --> 06:35.800 name rather as the folder and then the object name or the shape of that geometry. 06:36.110 --> 06:44.210 So if we had open now we can see we have this piece of texture in Photoshop so we can use this as a 06:44.210 --> 06:44.560 guide. 06:44.580 --> 06:50.120 We could repaint this in Photoshop if we prefer brushes in Photoshop, or we can continue to paint the 06:50.120 --> 06:50.780 rest of this. 06:51.080 --> 06:54.260 But you might say, how do we know where the other eye is? 06:54.260 --> 06:55.280 It's over here somewhere. 06:55.580 --> 07:01.130 Well, we can export the oves as a kind of template so we can see how we can paint textures in Photoshop. 07:01.390 --> 07:02.660 Let me show you how to do that right now. 07:02.900 --> 07:10.010 If we go back to to Maya and we click on the object, let's go into object mode and select it. 07:10.340 --> 07:16.550 We can go to the UV editor window by going to the modeling menu and going to the editor. 07:17.540 --> 07:21.470 And you can see we have our oves from the first part of this section. 07:21.770 --> 07:29.690 If we go and select all of them, you can see that indeed this makes it possible to paint textures. 07:29.930 --> 07:34.100 If we did not live our lives out in this way, then it would be impossible. 07:34.340 --> 07:39.020 If these were overlapping each other and all that kind of mess, it wouldn't be possible to do this. 07:39.050 --> 07:43.850 So now you can begin to see the importance of having properly laid out UVs when it comes to texturing. 07:43.970 --> 07:48.980 So to get this into Photoshop and go to image, you've snapshot or we can click this little camera button 07:48.980 --> 07:51.770 right here that will open up the UV snapshot options. 07:51.980 --> 07:55.280 And we can export this as a JPEG to the images folder. 07:55.280 --> 08:00.860 And again, because we've set the project, it's already populating where what directory of to save 08:00.860 --> 08:01.340 these things. 08:01.340 --> 08:07.550 And so we want a JPEG and that's fine edge color. 08:07.670 --> 08:11.240 Let's change that color to black and let's apply close. 08:12.020 --> 08:13.790 Let's save over the snapshot. 08:13.790 --> 08:19.510 And because I'd already made this earlier, so I'm going to open this up in Photoshop, I'm going to 08:19.520 --> 08:23.990 file open and we can go to the Maya directory that we had set as a project. 08:24.260 --> 08:25.850 We know it saved it in the images folder. 08:25.850 --> 08:26.900 And there's our UVs. 08:27.290 --> 08:28.100 Let's head open. 08:28.100 --> 08:33.410 And now we can see that actually because we sent it to black, that didn't work. 08:33.410 --> 08:36.860 So let's just save that to white and we can actually invert this in Photoshop. 08:37.220 --> 08:39.500 So I'm going to overwrite that with white lines now. 08:39.950 --> 08:41.720 And let's reopen this. 08:43.320 --> 08:44.370 File open. 08:46.850 --> 08:54.770 And the lines are just super thin, so when we bring it in, I'm just command a command C, Command 08:54.770 --> 08:58.730 V pasting it in here because they're both for textures that overlaps. 08:58.730 --> 08:59.410 Exactly. 08:59.660 --> 09:00.860 Well, we can't see beneath it. 09:00.890 --> 09:05.390 This isn't really Photoshop lesson, but I'm just going to show you a couple of things. 09:05.390 --> 09:08.810 Let's just hit this the screen and now we can see there's actually white lines here. 09:09.080 --> 09:17.000 But because our background color is so bright, let's actually invert that so we can go back to normal 09:17.270 --> 09:20.750 and we can see if we hit command, I we can actually invert that. 09:20.750 --> 09:26.900 And now if we set this to multiply, we can actually get black lines so we can see if we, you know, 09:26.990 --> 09:29.570 make a new layer here and we start painting. 09:29.960 --> 09:38.240 We can actually affect this thing inside of Photoshop and do textures here with this UV template, kind 09:38.240 --> 09:43.130 of as a as an outline and guide to know where should we be painting textures. 09:43.580 --> 09:51.710 So just as a quick example, I'm doing this really messy thing so that you can see indeed checkmark. 09:51.710 --> 09:53.270 We are affecting this. 09:53.270 --> 09:54.650 So I'm going to turn off the wireframe. 09:54.950 --> 10:03.110 I'm going to save this out as a copy here and I'm going to make it be a JPEG and it's going to save 10:03.110 --> 10:03.770 it as a copy. 10:03.770 --> 10:06.040 I'm going to save it, OK? 10:06.860 --> 10:13.460 And now when we go back into Maya and we look at the shader for this object, we go to Lambert five. 10:13.460 --> 10:15.950 We can see in the color that there is something mapped to it. 10:16.160 --> 10:18.260 And that's the three texture that we have been painting. 10:18.650 --> 10:24.710 But if we want to bring in any other texture and like the one we just edited in Photoshop, we can select 10:24.710 --> 10:25.970 it here and swap it out. 10:26.240 --> 10:31.310 So now indeed, check, we used the Photoshop image now. 10:31.550 --> 10:36.620 So there's different ways you can use the 3D paint tool, which is a little button up here we've been 10:36.620 --> 10:41.150 learning about we can actually use it and just complete the entire thing all inside. 10:41.150 --> 10:46.850 Maya never have to go to Photoshop or we can use it as kind of a guide and say, OK, here's the forehead, 10:46.850 --> 10:48.020 because that's where the big check is. 10:48.320 --> 10:54.590 When I'm in Photoshop, I can export the oves as wireframe paint on that and then bring it back in as 10:54.590 --> 10:57.560 a texture inside the shader color. 10:57.770 --> 10:59.990 So that is the paint tool. 11:00.200 --> 11:05.630 And the next lesson we're going to learn kind of another way to use it and different type of shader 11:05.630 --> 11:08.450 and we'll jump back into the Ghostbuster trap. 11:08.450 --> 11:09.980 But I encourage you to finish this out. 11:09.980 --> 11:15.020 I'm going to spend some time on my own and continue to paint this and make whatever kind of design you 11:15.020 --> 11:15.350 want. 11:15.590 --> 11:17.600 I encourage you to have fun with this part. 11:17.600 --> 11:23.360 This is probably the most fun part of the lessons here and that you can kind of be an artist and paint 11:23.360 --> 11:25.370 on your skull that we made. 11:25.580 --> 11:32.660 I also just want to make a quick note that in this example, I did not use symmetry and in three paint 11:32.660 --> 11:34.130 told I don't actually call it symmetry. 11:34.130 --> 11:35.120 They call it reflection. 11:35.360 --> 11:43.400 So you could turn on reflection and use this to paint your designs and have them be symmetrical across 11:43.400 --> 11:49.670 the model because it's a skull that might be useful so that we can, you know, have some symmetry here. 11:49.670 --> 11:57.230 But it also artistically, you might want some variation on either side, but that's definitely an option 11:57.230 --> 12:02.060 to turn on reflection and change the axi that it is reflecting on. 12:02.060 --> 12:05.870 But probably you'll want an X because that's how this model is set up. 12:06.320 --> 12:08.210 But thanks for watching and I'll see you the next lesson.