In this lesson, we're going to learn about the three main tool, if you go to your rendering tab here,
you can see the icon right here, three paintable.
You can also get to it from rendering texturing 3D paintable.
So for this lesson, I intentionally chose to take a break from the Ghostbuster trap texturing to texture
this, because I think it's going to be super fun to to learn about the 3D paint tool with this head
so that we can do the DIA de los Muertos type of designs on this head.
So Google some images, get some inspiration and open up the scene, found Maya and let's get started.
So I'm just going to zoom in here.
And so the other reason why I wanted to start with this as well is because it all still has the Lambert
shaders.
So if you right.
Click and go to assign new material, you can see all the Maya surface materials are right here.
And Lambert, any time you make anything in Maya, it's going to give it the Lambert one shader.
So you can see that.
Right, written right here.
Lambert one every piece of geometry that we have is a Lambert one.
And currently the three paint tool does not work with Arnold shaders.
So we have to have a Miah shader assigned for the 3D paint told to work.
So that's why I switched over to this one, because it still has all Lampert's and the Ghostbuster trap
has a bunch of Arnold Shayna's on it now.
So you could, you know, say you're your texturing or your shading and you have all these Arnold Shayna's,
you could revert to elaborate shader and then, you know, from the hypercharged bring in that Arnold
you had been using.
But just for clarity's sake, let's just start from scratch and have a new Lambert on this, because
I don't want to affect the Lammert shader that's applied to everything else.
So let's click Lambert.
And now we can click this button and go into the three paint tool.
So it says, we have no file texture assigned to the current attribute.
And if you look, I'm going all down, be a middle mouse, drag our paintbrush has a big X on it.
So that's a sign that we need to do something.
And we got this little kind of error here.
And also, I should say that errors that show up in yellow are just kind of warnings.
They're not errors.
Anything that shows up in red is actually an error.
So we know that we just got a warning.
So there's something else we need to do.
Let's go in the tool settings of this paint brush.
And the first thing we need to do is go to assign edit textures because it doesn't know where to save
the texture we are about to create with a paint brush.
So we go to assign added textures and we can change the size of the texture.
I always like to go pretty big because you can always scale down the texture later.
You can never scale it back up.
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
and we can actually paint on this now.
So I'm going to flood this with a color that is not totally white, has some yellow in it and it's kind
of a bone color.
So I can using the flood tool here, I can flood the entire object with that.
And I've chosen a little red color here.
I'm going to make some designs around the eyes, kind of like the flowers that you see and a lot of
these designs here, these kind of circle areas.
I'm going to start with that base color and go around this.
So if I hold down B, I can change the size.
And there are different brush types here and I'm going to go with the harder edge brush and start painting.
And you can see that my rotation is going to be hard to navigate because I'm rotating not from the pivot
of the head.
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.
So now it's pivoting from the head.
So it'll make navigating around much, much easier while I'm painting.
So now I can go back into the tool.
And with paintbrush selected, I can start painting, so I'm going to start painting and let's say I
make a mistake, oops, I do something like that, well, I could use the eraser tool.
So let's go to the race.
And I started racing.
And.
That works pretty well.
What it could do is actually erase the flood that you have, so in that case, you can actually just
use the color of the flood and paint over it so we can use the paint tool.
So we'll do the same thing.
So you have those two tools at your disposal if you kind of mess up.
So you also have these other tools here.
You can smear things.
And to kind of blend colors together, we could also blur this out in case the edges are too sharp,
we can blur that out.
So I'm just going to flood the paint again one more time and go back to the color that we had and go
back to the normal paint.
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
what it is we need to do to complete our texture so that Maya knows how to use it.
So now that we have some texture that we like after we've gotten done painting, we can save this out
as a file by going down to save texture's.
If we click this button, we may or may not get an error.
This is just about some little preview thing.
But if we click this little button down here, that's called the script editor and we can see everything
that's been happening in Maya for a while.
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
and it says JPEG right here.
So if we go to that in Photoshop, we can go to file open.
We can see that file.
And this is the importance of setting your project.
And we learned about this in the first part of this course.
And let me just reiterate it again.
If you haven't set your project, you have to go to set project and choose the main folder you want
to set.
It is.
And then when we go to open things or say things, or in this case, when we were creating textures,
it's going to save it in the correct place.
So if we look in Photoshop, we can see that it is under the Maya folder that we had set as a project,
the source images folder.
And then there's three paint textures and then it has the object that we painted on or the same file
name rather as the folder and then the object name or the shape of that geometry.
So if we had open now we can see we have this piece of texture in Photoshop so we can use this as a
guide.
We could repaint this in Photoshop if we prefer brushes in Photoshop, or we can continue to paint the
rest of this.
But you might say, how do we know where the other eye is?
It's over here somewhere.
Well, we can export the oves as a kind of template so we can see how we can paint textures in Photoshop.
Let me show you how to do that right now.
If we go back to to Maya and we click on the object, let's go into object mode and select it.
We can go to the UV editor window by going to the modeling menu and going to the editor.
And you can see we have our oves from the first part of this section.
If we go and select all of them, you can see that indeed this makes it possible to paint textures.
If we did not live our lives out in this way, then it would be impossible.
If these were overlapping each other and all that kind of mess, it wouldn't be possible to do this.
So now you can begin to see the importance of having properly laid out UVs when it comes to texturing.
So to get this into Photoshop and go to image, you've snapshot or we can click this little camera button
right here that will open up the UV snapshot options.
And we can export this as a JPEG to the images folder.
And again, because we've set the project, it's already populating where what directory of to save
these things.
And so we want a JPEG and that's fine edge color.
Let's change that color to black and let's apply close.
Let's save over the snapshot.
And because I'd already made this earlier, so I'm going to open this up in Photoshop, I'm going to
file open and we can go to the Maya directory that we had set as a project.
We know it saved it in the images folder.
And there's our UVs.
Let's head open.
And now we can see that actually because we sent it to black, that didn't work.
So let's just save that to white and we can actually invert this in Photoshop.
So I'm going to overwrite that with white lines now.
And let's reopen this.
File open.
And the lines are just super thin, so when we bring it in, I'm just command a command C, Command
V pasting it in here because they're both for textures that overlaps.
Exactly.
Well, we can't see beneath it.
This isn't really Photoshop lesson, but I'm just going to show you a couple of things.
Let's just hit this the screen and now we can see there's actually white lines here.
But because our background color is so bright, let's actually invert that so we can go back to normal
and we can see if we hit command, I we can actually invert that.
And now if we set this to multiply, we can actually get black lines so we can see if we, you know,
make a new layer here and we start painting.
We can actually affect this thing inside of Photoshop and do textures here with this UV template, kind
of as a as an outline and guide to know where should we be painting textures.
So just as a quick example, I'm doing this really messy thing so that you can see indeed checkmark.
We are affecting this.
So I'm going to turn off the wireframe.
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
it as a copy.
I'm going to save it, OK?
And now when we go back into Maya and we look at the shader for this object, we go to Lambert five.
We can see in the color that there is something mapped to it.
And that's the three texture that we have been painting.
But if we want to bring in any other texture and like the one we just edited in Photoshop, we can select
it here and swap it out.
So now indeed, check, we used the Photoshop image now.
So there's different ways you can use the 3D paint tool, which is a little button up here we've been
learning about we can actually use it and just complete the entire thing all inside.
Maya never have to go to Photoshop or we can use it as kind of a guide and say, OK, here's the forehead,
because that's where the big check is.
When I'm in Photoshop, I can export the oves as wireframe paint on that and then bring it back in as
a texture inside the shader color.
So that is the paint tool.
And the next lesson we're going to learn kind of another way to use it and different type of shader
and we'll jump back into the Ghostbuster trap.
But I encourage you to finish this out.
I'm going to spend some time on my own and continue to paint this and make whatever kind of design you
want.
I encourage you to have fun with this part.
This is probably the most fun part of the lessons here and that you can kind of be an artist and paint
on your skull that we made.
I also just want to make a quick note that in this example, I did not use symmetry and in three paint
told I don't actually call it symmetry.
They call it reflection.
So you could turn on reflection and use this to paint your designs and have them be symmetrical across
the model because it's a skull that might be useful so that we can, you know, have some symmetry here.
But it also artistically, you might want some variation on either side, but that's definitely an option
to turn on reflection and change the axi that it is reflecting on.
But probably you'll want an X because that's how this model is set up.
But thanks for watching and I'll see you the next lesson.