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Texturing clothes for IMVU

We’ll go over a little bit of theory before discussing tools and techniques!

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• The easiest way to start creating on IMVU is Texturing other objects Introduction to Textures Software We Support (2D/Texturing) What Software Should I Use? Creating Fabric Textures Understanding.
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When we talk about textures for IMVU we’re talking Game art. In the physical world, material properties determine how the light hitting the object gets scattered / absorbed / transmitted / refracted - in CG when a 3d model is rendered, its appearance is also determined by “material” (+ object’s shape and the kind of light and its angle and the surroundings). This CG material consists of a shader and texture maps. Now, IMVU Client uses only 1 shader and it renders everything as clay - to make your furniture porcelain or metal, to make your clothes woolen or pvc, you cannot apply a different type of shader, you have to fake those properties with a diffuse map. More complex shaders allow us to use different types of texture maps for different purposes - bump map for adding fake creases, specular map for making certain areas on the mesh appear glossy etc. meanwhile the IMVU shader uses only diffuse maps and opacity maps (and you probably used a UV map as a painting guide). So! We use textures to color, fake material properties and fake model’s geometry so that things would load faster.

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Textures can be drawn from scratch. Textures can be made by compositing and editing photograph references (when using your own photos or royalty free photos or bought stock photos this is perfectly acceptable and common in the industry; the author of any kind of work by default holds copyright on it and their wishes regarding the use of their work must be respected; that said, there are certain cases when remix, small portion used, not trade competitors and not used for profit may be considered “ok”, but that excludes commercial use). Textures can be generated, either in the sense of using procedural maps or in the sense of rendering and baking the interaction of shaders, maps applied, light hitting the geometry in the scene thus creating shadows and color bleeding and whatnot - all rendered and baked onto a single map. All three methods take practice and the result can be made editable and high quality! If you ever wished you were able to paint directly onto a mesh, this is called 3d painting, there are built-in features for this in some meshing and sculpting programs as well as specialized solutions such as Mari (in the workflow you will see a lot of stencil/reference compositing!) … But back to IMVU.

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Here is a list of awesome software from most expensive to free:

• Photoshop CS6 (commercial license 360 USD a year)
• Corel Painter
  
• GIMP (GIMP is free!)

Another important tool is a graphic tablet. Cheap tablets have plastic surface you draw on while looking at the PC screen (my Genius tablet is literally like a mouse except you hold it like a pen), fancy ones have a touch screen with pressure sensitivity and tilt recognition (Wacom’s Cintiq). Keep in mind that while the quality of the tablet depends on your budget, the quality of your work depends almost exclusively on the amount of practice!

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Texture size in pixels: combinations of 8, 16, 32, 64, 128, 256; 256x512 or 512x256 - not 512x512 (Power of Two Rule)
Texture size in kbs: aim for 30kbs or less (ZaraKaine is my source <3)
Texture file format: JPG, PNG, PNG-8

Parallels desktop 12.1.

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“Industry standard for raster graphics editing”, it is not free. The power of Photoshop lies in applying editable adjustment layers (and then we have filters like Vanishing Point, plugins, tool customization, customizable workspace setups, automation of repetitive actions, smart objects, masks, content-aware fill and content-aware scaling and puppet warp and rudimental animation tweening) - in short, if you’re making irreversible changes on your image, get color-banding or grainy quality, cannot edit the image without loss of image quality - you’re using it wrong! xD

a) A texture painted from scratch. Tools most used: Brush, Blur, Motion blur, blending mode darken, brightness/contrast.
b) A texture made by compositing photo references. Smudge tool. Use own or royalty free sources.
c) Add-ons painted from scratch Like pixel art with layer effects - zippers, studs, buttons, belts - saved separately for future use.
d) Patterns, gradients, custom swatch palettes, styles, brushes… Download or better yet build your own library as you work.

I call it “mixed technique”

Photoshop algorithms on a rendered map with “hand painted” details.

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- for painting clothes -

Three point lighting. (source) When you paint a highlight or a shadow you’re imagining this fake geometry/crease being lit by some imaginary light. We usually emphasize the front of the outfit, but if you know about this key + fill + back light setup, you might enhance the final look of your texture on a model by adding a subtle light to the side of the outfit, or by lightly tracing the underside of the mesh.

Compression folds, stretch folds, and 7 types of each. (source 1, source 2, source 3) Folds on clothes start at points that protrude, and follow direction of the force that’s pulling them be it gravity or fabric tension/stretching. We draw pipe folds on skirts and dresses, diaper folds on loose baggy shirts, spiral folds on sleeves and leggings and zig zag folds on whatever part of clothing is compressed. The curvature and the amount of folds help convey the softness/hardness of the fabric as well as its thickness.

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Risk of rain for mac.

Ok, I compiled a few reference images for us to study - pay attention to folds, material shininess (the more reflective the more work it is, but it’s all manageable), and think of possible patterns or brush settings we might use to recreate the fabric in Photoshop. There’s always more than one way to achieve the result you want.

How to get cotton. After finishing painting highlights and creases, create a new layer on top of all the others, fill it with some base color, go to Filter>Noise>Add Noise (I use Amount 18%, Monochrome). Then Filter>Blur>Motion Blur (I use Angle 0° and Distance 4 pixels). Now set that layer’s blending mode to Soft Light.

For denim and leather, the top overlay would be a subtle Pattern Fill Layer (the middle button at the bottom of the Layers Panel; you’ll need a custom pattern image). Sequins could require blocking out parts of the shaded texture using a pattern layer in one color with round transparent circles, and then adding a few flare effects on top of that. Fur could be achieved by combining multiple layers traced with a brush with a custom Brush Tip Shape (you can make your own that looks like multiple dots), Shape Dynamics, Scattering, slight Color Dynamics - all found in the Brush Panel (Window>Brush). Silk and PVC require most attention if not downright imitating 2-3 reference images, and to speed things up you can make one full body template to use as a base in future works (just like making custom brushes from the most typical folds and highlights). So a sharper brush, only white color, painting various spots and shapes and then blurring them out in places to almost form a gradient, leaving them sharp in other places, ideally only changing the layer visibility and not the color, and ideally keeping layer blending modes consistent for later merging.

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- Decide on what you’ll be making, sketch and/or collect references to help you

- Have a good folder structure or collect pins on Pinterest < HIGHLY RECOMMENDED, also draw influence from multiple sources and put your own spin on whatever you do.

- It’s good to have HQ meshes you regularly texture, for maximum product compatibility and easier workflow - I’ll be listing those in my next post. Test how they morph/bend by using a walking animation.

- Collect all the provided UV maps and put them into 1 TIF file, grouped and named properly. I prefer 1 file for consistency, .tif format for thumbnail preview.

- At this point, ideally, I’ve already created a new folder with Maps.tif, Icon.tif and Catalog.tif files, copy-pasted & ready for use.

- Optimal setting - get a shadowless room, rigid standing pose or avi, arms up trigger, make a basic outfit - things you click first when the edit mode opens.

- Have a dual monitor setup or use Always on Top script if you don’t like using ALT+TAB to switch between applications (preview - Photoshop stays over imvu)

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• Posted 03 September 2015

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When you are creating a 3D object for IMVU there really is no reason you can’t creatively balance the simplicity of a low polygon mesh with details that suggest more information than is actually there.

As a case in point, I have created this simple building mesh and with a few clever tweaks and twists I have been able to suggest a lot more information than actually exists in the mesh.

Starting Simple

To help illustrate this point, I created this very simple building mesh. This is meant to belong in our Renaissance Faire environment so I want to build something rustic and fairly organic looking. I have added just enough detail in my mesh to help me break up the tiling textures I will be applying to it, and allow me to distort the structure to give it a little charm. Models created in the computer can be very geometric and display a mathematical perfection that just doesn’t often exist in our physical world.

I like to add life and believability to my model by distorting the mesh and adding a little asymmetry to it. Here I am creating a sag in the canvas awning that hangs in front of my little building. Even with this little bit of geometry I can create a sense of weight and personality. I am also lifting one edge higher than the other to add some variety to the finished shape.

There is a fine balance between making something charming and making it look structurally unsafe. When tweaking your geometry you need to avoid the “cake in the rain” syndrome, or the tendency to lose the believable integrity of the structure. Play with your mesh and see what you come up.

A little tweaking goes a long way to adding life to your creations. For the two posts that hold up the canvas awning, I wanted them to look like branches rather than milled poles. To do this I took a five sided cylinder with five segments and pulled each section slight off center, then twisted the sections to suggest an organic structure.

It takes very little to create a believable end result and adds variety to your mesh without adding complexity. Although this example has not been textured yet, I customarily texture my meshes before distorting them. This helps with the organic quality of the finished product.

This also makes it much easier to Map the textures on an object made of right angles than my eventual distorted end product.

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Letting Textures Do a Lot of the Work

Since I know that I will be creating several textures that will need to visually work together I often start with the same base texture. In the above examples I start with a photograph of wood grain and soften it by running the CutoutFilter on it in Photoshop.

Cutout turns photographic images into a more graphic image and has the effect of minimizing the contrast , giving a painterly quality to the image. I then add separations in the wood texture to suggest planks or individual boards.

Next I copy and paste one of these boards to the top and bottom of my planks and darken them slightly. I repeat this to create the additional cross pieces, finally adding minor details and highlights to the surface to add interest and suggest the surface is weathered.

This technique allows me to build a variety of textures from the same base. Each of the above textures has it origin in my first Cutout wood grain texture.

This also assures that there is a cohesive quality to all the textures, making my finished model look more believable. As I have said in other tutorials, texture creation is often the most time consuming aspect of 3D model building.

The quality of the textures applied to your mesh will determine the quality of the finished product. I often create master versions of each texture at twice the size of the eventual finished file, which is where I do all of my finer details. In this example I have added nicks and scratches to help break up the more linear edges and suggest age. I personally like a more impressionistic approach when I create textures and find they often suggest more detail then is actually there.

When everything comes together you get a better idea of how all of these choices can add complexity and interest to even a simple model. You can also see how only a few textures, all based on the same base source image, can work to make your model “feel” like it is made from similar materials.

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