Tutorial by Juan Siquier This is Part 3 of "A Little Farther to the Right"; you can find Part 1 and Part 2 here. Earlier I explained how to paint in Photoshop bumps and scratches, but it is best (not to mention easier) to paint directly on the mesh. There are many programs for painting textures within a 3D viewport: Mudbox, ZBrush, Mari, BodyPaint, DeepPaint, etc. .. but 3ds Max has a powerful tool that will serve us well and it's called Viewport Canvas.
Select the object (1) click on the Brush tool (2) and choose, for example, Diffuse Color (3)
In the dialog that appears, we set the resolution (1), choose any color for the base texture (2), and the path where our painted texture will be saved (3).
We open the Layers Dialog (1) and also the Color Picker (2), we go to the File in the Layers Dialog menu and we click on "Load Bitmap Into Current Layer". Choose a wood texture (3).
Then add a new layer and a mask layer in white (reveal all) (1). We choose the Fill tool (2), click on 2D View (3) and we get an image of the UV View. Then we use the Fill tool with a yellow color. Create another new layer (4), choose the brush tool and paint in the 2D View over the shells of the metal screws (5)
Now select the layer mask (1) and you can paint with a paintbrush – paint in black fto reveal the layer below and white to cover (2) paint scratches and bumps with the goal of realism in mind. When finished, go to the Layers Dialog and click on "Save File PSD As.." save it in PSD folder of the project.
Once in Photoshop, we can continue working on the chair or we can remove the layers that we've created with Viewport Canvas but keeping the mask that we hand painted, for use in case we started the PSD in Photoshop as I did with the furniture.
Here is a video about the "Viewport Canvas" feature.
Now it is time to work on the other small objects in the scene, as you might remember, we UVmapped together (i.e. they share the same UVMap and therefore will share one PSD along with diffuse maps, bump and spec as well.
For doing the bulk of the Uvs, the "quick peel" in combination with "Relax" tool was very useful. Really fast method!
With the help of the UVStamp, I identify shells and coloring using the Lasso tool.
I activate the AO layer in multiply mode, I tint it brown color and decrease the opacity to the 40% or 50%, but now we find the objects that are very dark (almost black), such as bucket handles and handles of water jar – for these we are going to reverse the occlusion. To do so, duplicate the AO layer and invert (Ctrl + I) tinting of dust color (beige), put this layer in Screen mode and decrease its opacity to 20%, then we just have to mask black objects in the normal and copy the inverted mask (Ctrl + I) to the negative layer occlusion.
In the picture above you can see more clearly the method of reversed occlusion which produces an effect of dust accumulated on inaccessible parts of the object.
Now it is time to create labels on cans, cleaning products, medicine or wine bottles...and let's not forget to also create fabric for the oven mitt.
Now add the textures from our library and tiling so that they have a logical scale.
We add a layer of dirt on multiply mode for objects that have not texture, like the dishes, the cleaning bottle, the toothpick vase etc.
Now as we did in the furniture, we create layer groups for SPC and BMP. In this case I will focus a little on explaining the specular map: Occlusion is the 100% opacity, metals are very clear, with little contrast. The reflection of the jar should be light blue (1), paper labels do not reflect anything, and thus are almost black (2). Afterwards, in case I need some reflection, I can to clamp the black values with a Color Correction. Glass only has AO and the color is very clear (white) (3). The mitt is very dark (4) and the wood has high contrast (5).
The water jar has a backed cellular map which is inverted and plugged on Normal channel. However, if you want, you can simply use the cellular procedural, you only have to give a negative value to Bump and play with the cellular parameters, the result is very good and very helpful.
Above is the baked normal map that I made for the water jar, feel free to download it. *Image above is a preview only - download the original .tif file at the bottom of this page)
We started to light the scene and the first thing we have to do is to model a wall (1) with a simple window (2) which will be invisible to the camera, but will serve to cast shadows on the kitchen allowing to pass light through the window.
We make a material override and assign it to the entire kitchen. For example, a simple lambert 50% gray, we created the sun with an area of ??26 cm and white color. To help us, we select a viewport and pulse the "$" key, that allows you to see from the sun as if it were a camera, using the active shader and a GPU-accelerated engine render like iray or as Vray-RT. I move the sun until I like the design of light projected in the kitchen.
I turn on the GI.
I create an area light behind the window, also white and I try that have enough samples in the shadow.
I put a square-shaped spot light to illuminate the corner of the yellow chair and that also will make a nice reflection on the tiles of the wall on the left.
I create an area light at the height of ceiling with an orange color and enough samples in the shadow.
Now I add a bit of light to the left side with an "omni light" activating "Far Attenuation" and not going beyond the middle of the table or so.
Finally I activate the GI Environment lighting with a greenish color and a value of 0.7. It will fill with that color the darkest corners of the scene. With this, finally the lighting stage is finished.
Now we just disable the override Material and add a map to check environment reflections. Press "8" to open the "environment effects" panel, on the "Environment" map choose "Bitmap" and search on the library any HDRI that looks like a kitchen, I used one that I made photographing a chrome ball. I drag the environment Map to a free slot of the compact material editor (1) and for the copy method I choose Instance, active "Environ" and "Spherical Environment" (2) and using the Active Shader for rotating the environment with Offset until achieving the satisfactory result.
Finally I shot a render with production settings and good resolution. For this example, I did it at 4K and took about 9 hours of rendering.
Once in Photoshop, I retouch the colors to accentuate the vintage atmosphere. I used a few tweaks; you can see in detail in the picture above. A yellowish framework still results in a more retro feel. And that's it, this picture has made ??me enjoy it a lot and I hope you liked it. The tutorial is only intended to present my usual way of working on personal projects, it sure is not the best method or the fastest but it's mine and that makes the things I do, be more recognizable by its own style. And I'll finish with a small tip: Find yours, the more valuable thing of an artist is to be able to speak their own language.