Original subtitles

Welcome back! Manu here, let's keep painting our non-photorealistic texture in part two of

the tutorial. let's start with the ground, so first select the ground and go to the texture painting

mode, select a nice color, maybe the base color but with a little bit of brighter value and saturation

it's not really a new color indeed as it comes from the orange family, one of the five colors

from our limited color palette, so i have just picked the less saturated and slightly brighter

variation. time to spice it up with some details, i'm just gonna treat it in a very relaxed manner

placing brush strokes here and there with a smaller brush, you can change the size using

F, i'm not using any effects like jitter, it's just multiple clicks, i'm using a tablet tool

so i play with the pressure. just as a reminder we are still painting all the way through the mesh

as both the occlude and backface cooling options are turned off. let's turn them back on in the

right hand menu, as we don't want to paint the dots on top of what's already being painted on

the other side of the mesh, turning it essentially into stylized cheetah :) what i'm doing with these

scattered dots here is that i'm starting to add a little bit of variation here and there

the slash key on the numpad allows to isolate the mesh we are painting on, it's pretty useful

when it's occluded by something, as you can see my details are quite abstract, especially

when seen from the orthographic perspective, it's really an abstract painting to some extent, it's

an adventure of color which is exciting by itself even when taken out of context of this mailboxing

now i realized i need to increase the bleed value for the texture islands. in the top menu within the

options tab i'm changing the bleed value to 12 pixels, here i can show you how it affects for

example the grass objects, so go to the UV editor and select the texture we are painting and then

let's paint on top of the grass, again now with the increased bleed value so let's re-enter the

texture painting mode by hitting Ctrl Tab and i'm gonna paint this grass comp, see what happens

i'm gonna zoom in to see what's going on with our grass blades, so now more paint

is laid down further beyond the borders of the uv islands when we paint, this ensures that there

will be no different colors in the edges of the object or the texture islands. this is why you need

bleed, you see, if you have a bleed at 0 and you paint on the uv islands, the background color will

be seen at the edges like you can clearly see here some bleed is needed, however, when you use bleed

it's important to have enough margin between the uv islands, as you can see here, we didn't

have enough margin, so the bleed actually bleeds on top of another color or another uv island

so when you do uv unwrapping, make sure to put some island margin to the settings so that

the bleed doesn't bleed on other uv islands, now you don't have to worry about the bleeding issue

anymore. then i continue to give some brighter color to the grass blades, once again, i have

the occlude and backface culling off, so that i can paint through the object this way it's just

faster, it's like treating 3d like 2d, like there is no such thing as the other side of the plane

now would be good time to save in addition to saving the .blend file you need to also save the

texture file otherwise the hand painted stuff will be... poof!... gone as soon as we close Blender

so we take this over not closing Blender for forever. really that's like our two options.

okay the texture can be saved from the uv editor, just select your texture and go to

image and save as and then save your image. any uncompressed format will do png or tiff

then i start to paint the pole or the stick of the mailbox

i increase the opacity of the wireframes to help me guide with the edges and here is some kind of

splinter in the stick, i put some edges for that as well, the splinter also needs our love.

and here i paint some kind of grooves to give some nice detail for the stick, because ultimately

every stick wants to be unique :) for this i paint all the sides individually,

not by painting through the object, this gives some uniqueness to all the sides, the advantage

of following the NPR approach or to texturing is that every pixel of the texture can potentially

be unique and here i add some shadows from the mailbox and ground, i'm using a darker shade of

brown to simulate the shadowing, just laying some semi-transparent brush strokes to darken things

down. actually let's pause here for a moment and talk about two kinds of hand-painted looks.

some artists don't mind rendering engines adding light simulation on top of their carefully crafted

textures so they treated these textures like it's albedo textures, that describe the

color of the material, but the final look is aged only after light sources come into play

the other bunch of artists would rather prefer baking in or better painting in all highlights

gradiens and shadows like i'm in control i want to make this shadow reveal a demonic character or

something like in this amazing scene by Luis, that's a different approach that is probably

slightly less universal because you can't change the sun angle and stuff like that on the fly, but

it is amazingly powerful as well, or you can ditch those shading things at all and revel

in flatness, that's also sexy and lets hand painted textures shine. and of course there are many stops

in between those styles, for example, you can paint some ambient occlusion like we do here and let the

render engine do its job. i think our mailbox will be displayed without generated shadows in the end.

but because we are not really breaking heart shadows in, we would be free to use light if

we wanted to. alright folks! that's it for the second part of the tutorial,

in the next one we'll finish detailing this handcrafted texture, so see you there!