Blender texturing using robots as an example

Texturing

Introduction

Introduction
This blog answers the question of what texturing is. I will use a studio project as an aid, which involves creating a robot for a game.
I will briefly go through the structure of a 3D model, then go into UV mapping, then explain the node tools and finally the baking.
I realise that there has already been a similar article, but this one will be more detailed and subject-specific.

3D model robot

Over the last few days, I've been asked a lot what a 3D modeller actually does. At first I was puzzled, because for me this question was just a background thought. However, the work of a 3D modeller is difficult to describe as there is a lot to consider. In the end, I came to this answer: 3D modelling is like making a paper figure. You use coloured sheets of paper, folded correctly, to create a shell that is supposed to represent an object.

A 3D model of a cube, constructed like a paper figure
A 3D model of a cube, constructed like a paper figure

In most cases, this envelope can be divided into quadrangular surfaces by folding points (even if this is not always necessary in digital space).  The corners of these can be moved in space according to the three-axis principle. This makes more complex creations possible.

One face of the cube separated by four folded edges
One face of the cube separated by four folded edges

This brings me back to the main object of this blog, the robot. This represents an object made up of several paper figures, clad in lots of coloured leaves.

The robot early in production
The robot early in production

UV-mapping

The term UV mapping means cutting and laying down the envelope on a 2D space, as you would do when measuring the surface of a cube, for example. This is necessary in order to be able to apply the textures correctly. cutting lines can be created using the Smart UV-tool or by yourself. surfaces themselves can also be moved, scaled and rotated on the UV-map. As the robot consists of several individual objects, I will later combine them into a texture atlas.

You can see the cube on the right and the unfolded cube on the left
You can see the cube on the right and the unfolded cube on the left
Three self-selected cut edges marked in red
Three self-selected cut edges marked in red
The right arm of the robot with UV map
The right arm of the robot with UV map

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Node Tools

There are two ways to edit the texture yourself:

1. you colour in the UV map yourself. The image is then reproduced on the surfaces on which you have drawn. 

2. you use node tools. These are mathematical systems that do the drawing themselves to a certain extent.

You can also switch between the two as you wish.

I myself had little experience with node tools, which is why I first did the drawing by hand.

First version of the robot with drawn texture
First version of the robot with drawn texture

However, I made a mistake with the arrangement of the UV maps. So I started a second attempt, but this time with the node system included. I frequently used the noise-tool, vornoi-tool and the colour-ramp. frequently used noise map, vornoi map and colour ramp. The Vornoi-tool is a texture that randomly selects points on the surface and then creates cells that spread outwards. (https://docs.blender.org/manual/en/2.80/render/shader_nodes/textures/voronoi.html) A little tip: vornoi textures mixed with noise textures make for a very convincing metallic scratch texture. If you also connect the Vornoi texture to the normal input, the scratches appear to be tangible. the normal input is an input that uses a normal map to calculate different light on and offs and thus gives flat textures the appearance of a third layer.

Hand of the robot with normals
Hand of the robot with normals
Hand of the robot without normals
Hand of the robot without normals

With noise maps, each pixel has a random value. This value is represented by colours or in black and white, and values such as the aforementioned colours can also be converted into any other colours using colour ramps. 

The factor (black and white value), i.e. output, is entered into the texture as input
The factor (black and white value), i.e. output, is entered into the texture as input
Output is converted by a bump node into an output that can be read by the standard
Output is converted by a bump node into an output that can be read by the standard
A colour ramp gives the black and white value a red-blue colour
A colour ramp gives the black and white value a red-blue colour

Shaders have different inputs which are aimed at different attributes of the texture, for example emission, which reflects the luminosity of the object, or height, etc. Sometimes it is useful to mix two shaders together, such as in the scratched metal shown above.

Baking

The last step I had to carry out in Blender was baking. During baking, the texture is captured as it is at the moment and saved. This is necessary to transfer it to Unity. This is also divided into different maps for different attributes.

Colour baking map for a robot
Colour baking map for a robot

My last task was to export the whole thing to Blender and assign the various baking maps correctly.

Robot in Unity with finished textures
Robot in Unity with finished textures

Closing words

I hope that this article has brought some understanding. Of course I have not been able to explain everything as this would have taken considerably more time. Instead, I have limited myself to the details that are important to me and explained them reasonably accurately. Blender and other 3D design websites are becoming increasingly important in this day and age, so it never hurts to read up on them. Other tools

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