20. Relax the arm.
21. Repeat steps 18–20 for the other arm.
22. Stack these two arm pieces on top of each other (one side will have to be
flipped to match).
174
6.
U-V Mapping the Slogre with DeepUV
Figure 6.33 After
stacking the hand
parts, unwrap the
cuffs of the arm
using Interactive:
Cylinder mapping.
Figure 6.34
Unwrap the arms
using Interactive:
Cylinder mapping.
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That completes the arms. Just move the components away for now, and at the end
you’ll organize the map neatly. Before you continue, choose File, Export, Send UV
Update to transfer your work back to 3D Studio Max. It would also be a good idea
to switch back over to Max and save your file so you won’t lose your work. Now let’s
move on to the head portion of the slogre, which represents the most detail of the
model.
Step 3: Unwrap
the Head and Body
Normal human characters have fairly spherically shaped heads, and therefore an
Interactive: Sphere mapping would suffice. However, ‘tis not this case for this lovely
beast, which will require a combination of Interactive: Sphere mapping plus some
cutting and stitching to get it just right. I also want to get more of the neck in there
because, according to the sketches in earlier chapters, the underside has a very
snake-like appearance.
1. In a Top view, lasso one of the tusks as shown in Figure 6.35 and cut it away.
Be sure to deselect any points of the head that you may have accidentally

Apply Planar 2
mapping to the tusk.
Repeat steps 1 and
2 for the other tusk,
and stack them.
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177
Unwrap the Slogre’s U-V’s
Figure 6.37 Select
the remaining points
on the Material map
and apply a Planar 2
mapping.
Figure 6.38 Select
the forward portion
of the head and cut
it away.
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7. Relax the selection (see Figure 6.39).
8. The lower portion of the map has points that could be joined, so select them
and click the Join button. Then, reselect the entire head and relax it again
(see Figure 6.40).
9. The face in the center of the map may be a little scrunched, even after relax-
ing. This is due to the fact that there is a sharp transition between the face
points and the rest of the head, and DeepUV is doing its best to relax it all
proportionally. This is why I kept the top portion of my map unjoined, so
DeepUV didn’t have to wrestle with it. Zoom into the face area and select it,
and click the Relax button again to see it smooth out a bit (see Figure 6.41).
178
6.

As I mentioned in the previous chapter, it’s best to pack these maps manually so
you can give preference to items that need more detail. The logic is thus: The
larger the scale of an individual map item on the Material map, the more texture
detail you’ll be able to apply to it. If you were to
scale the head portion of the map down to a
tiny little piece, how much texture detail
would show up once the texture skin was
reduced to 256×256 pixels? Not a lot, my
friend. So in this case, the pieces that need
the most detail are the head, followed by the
body, arms, legs, and so on. Figure 6.44 shows
my map, packed with preferences to those
pieces mentioned.
Update and View the
Results in Max
Once your map is packed, choose File, Export, Send UV Update to send your com-
pleted work back to 3D Studio Max. Then, switch back to Max and click on the
Modifier tab to see all the stacked updates you’ve sent. The topmost update is the
180
6.
U-V Mapping the Slogre with DeepUV
Figure 6.43 Cut, relax,
and stack the two body
halves together.
TIP
When you place and scale the
pieces on the map, use Edit,
Free Transform in conjunction
with the Shift key to scale the
pieces uniformly.

U-V Mapping the Slogre with DeepUV
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PART THREE
Texturing
the UV’s
with
DEEPUV
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7 Game Texturing
8 Inorganic Texture Tutorials
with Photoshop
9Advanced Texturing Examples
10 Organic Texture Tutorials
with Photoshop
11 Skinning the RF-9 Plasma Gun
with Deep Paint 3D and Photoshop
12 Skinning the Slogre with
Deep Paint 3D and Photoshop
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CHAPTER 7
Game
Texturing
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I
n this chapter I’ll introduce you to the vast world of game texturing. This will be
a primer, so to speak, for the chapters that follow. Specifically, this chapter covers
■
The game texturing arena
■
Different types of textures
■
Texturing techniques
■

7.
Game Texturing
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Hand-Drawn Textures
For the most part, I’ll show you how to create textures from scratch using either
Photoshop versions 6 or 7 (both are nearly identical in general functionality and
tool locations). Of course, it’s easier to get a picture of something real, clean it up,
and make a texture out of it; however, I want you to be able to make just about any-
thing by hand should the need arise.
Inorganic Versus Organic
Throughout this book, I tend to categorize models and textures as inorganic and
organic. By inorganic, I mean that, whatever it is, it’s most likely portraying some-
thing carved from steel, wood, or even rock—mostly inanimate objects. By organic,
I mean objects or other entities that have fluidity to their shape, or are in fact alive.
Organic, to me, are things that relate directly to living things. Rock-based textures I
like to contain within the inorganic category, despite their worldly origins, because
they represent materials used more for building things.
I believe inorganic textures (rocks, metals, walls, floors, and the like) to be the
easiest and most fun, as well as being the most realistic. For example, I made the
Mars rock texture shown in Figure 7.1 in under a minute using only a handful of
the default filters that come with Photoshop. I couldn’t believe how realistic it was;
I honestly didn’t expect it to look that good (I’ll show you how to make it in the
next chapter).
187
Types of Textures
Figure 7.1 A quick
Mars rock texture.
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Organic textures—that is, any living (or once alive) carbon-based life form or part
of something living—can be either unbelievably easy or a total pain to create.

careful combination of a photo and a hand-drawn image. I like to make compos-
ites, often because a flat-out photo can be too, well, dorky. Integrating a part of a
live picture with something you’ve created by hand or adding some layer effects to
a picture can make a texture work very well in a game. Check out Figure 7.4—I
took the brick texture from Figure 7.3 and, in Photoshop, applied a stucco look to
parts of it. Now it looks like someone tried to cement over the wall, and over time
it broke away.
189
Types of Textures
Figure 7.3 A brick
texture created from
a photograph.
Figure 7.4
Compositing a real
picture with a hand-
drawn image to
make a viable
texture.
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Seamless Textures
Seamless textures are an art form in themselves. I don’t think there’s a 3D video
game out there that doesn’t have hundreds of seamless textures—that is, textures
that can be tiled side-by-side (and sometimes above and below) each other without
a noticeable seam. The basic technique for making a texture seamless is to first cre-
ate the texture, and then offset it evenly using the Offset filter in Photoshop. But
here’s the trick: A good seamless texture has little noticeable repetition in the over-
all pattern. That is, when the texture is tiled, nothing stands out to make you say,
“Oh, I see. It’s just a simple brick wall copied over and over again.”
Making a 256 × 256-pixel wall texture for a game is fairly easy—however, a good
artist will spend time weeding out the “sore thumbs” in the image. For instance, the

Whether your texture is seamlessly tileable for a large wall, or animated as a sprite
to simulate steam, the next few chapters will guide you through these detailed
processes so you can generate your own outstanding game textures.
191
Summary
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CHAPTER 8
Inorganic
Texture
Tutorials
with
Photoshop
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