In this course, I'll take you through the techniques I've used and refined over the years to help me create very high quality, high resolution tiling photoreal diffuse textures using only Photoshop. I'll start by explaining all the techniques individually, then move on to showing how I use all the techniques to take a texture from start to finish.
Best results are achieved using a pressure-sensitive tablet. Many techniques shown here don't require the latest version of Photoshop.
The course won't take hours to complete and you'll see results immediately. I'm confident the methods I use aren't found anywhere else online, so I'm certain you'll learn something new!
The series is a work in progress, so expect new videos over time.
Before we get started, you'll definitely want to load the awesome custom brush set I've included with this course. This video goes over how to load the brushes into Photoshop and what effects the brushes bring. A pressure sensitive tablet is highly recommended.
Layer Masks are there to help you correct the past and work non-destructively.
Ditch the clone stamp tool and use this method which greatly enhances the quality and maintains the resolution of your texture.
Continuing with the texture tiling method.
Creating small decor patterns that are also make excellent heightmaps or alphas in Zbrush, Mudbox, NDO2, etc.
My tried-and-true method of textural enhancement. Blend-if will help you remove what you don't need, keep what you want, and quickly add cracks, drips, anything. Works beautifully with Layer Masking.
Surgically remove leaves and stems using tools found in this lesson.
Your photoreal texture is hiding details from you. Learn how to reveal them with this simple method.
Affect the layer beneath the one you're working on without destroying it.
Got two or more textures that just aren't matching? The Match Color adjustment will fix that.
Don't just copy and paste. Rip those elements from textures and bring the subtle characteristics of the surface with it.
Supplement your base texture with composite textures from a library.
Starting with a simple foundation is essential for iteration and variation.
Add a base texture under the tiles, then use Blend If to damage them.
Using blend-if, we'll bring in a crack texture and subtract that from the main tile layer mask.
Exploring different ways to apply color to the tiles might yield something cool, or at least an idea down the line.
Using some other common textures in your work helps create variety and visual interest.
There is quite a bit of space left to fill, so I'll bring in patterns created using Smart Objects to fully realize the texture. I'll color it and then we'll call it finished.
My name is Peter Sekula and I've been an experienced Senior Environmental Artist for over 12 years. In that time, I've worked on industry titles such as the Tom Clancy's: Ghost Recon series, Rainbow Six series, Far Cry 4, and most recently Tom Clancy's: The Division.
I'm also the founder of my own game development company, "Quantum Theory Entertainment."
I've always had a fondness for well crafted environmental art; be it traditional or digital, 2D or 3D. Composing objects in a scene and lighting them in interesting ways is immensely enjoyable to me. If one can create a sense of wonder and curiosity in the viewer, they've captured them and can guide them on an interesting journey through visual storytelling.
As an Art Director in the game industry, I feel it's paramount to creatively illustrate game design intentions through art. One must always support the other. Then, create a visual style or language that draws the viewer into the world, beckoning them to dig deeper. This language, or rule set, is also used by the entire art team so they too can understand and better execute the direction even with their own ideas.
My interest started with toying with 3D software at home, then taking that interest further in college. This growing desire for more led me to an Environmental Artist position at Ubisoft where I designed and created maps for some of the most well known games in the industry. These skills then led me to a position of Lead and eventually Art Director, developing style guides and art direction for unannounced games for console platforms.
Composing scenes from the camera's perspective, texturing them to get a high level of detail, then illuminating the scenes are skills that I greatly enjoy and continue to this day. Anyone who is interested in critiques, feedback, or advice can feel free to message me.