To apply a texture to an object, you map the texture to an attribute on the object's material.
The attribute to which the texture is connected determines how the texture is used and how it affects the final results. Maya has a number of textures that you can map onto objects. For more information on these textures, see 2D and 3D textures. To map a texture, see Map a 2D or 3D texture. If you connect the black and white Checker texture to the transparency attribute, you have applied a transparency map; the checkered pattern determines which parts of the object are opaque and which are transparent.
For a description of how textures stick to materials of objects, see Mapping methods. To learn more about how you can work with color, see Common surface material attributes. To learn more about how you can work with transparency, see Common surface material attributes. To learn more about how you can work with highlight, see Common surface material Specular Shading attributes.
To learn more about how you can work with reflection, see True reflections. To learn more about bump maps, see Bump maps. Displacement maps let you add true dimension to a surface at render time, a process which may reduce or eliminate the need for you to create complex models.
To learn more about how you can work with displacement maps, see Displacement maps. Commonly used texture maps To map a texture, see Map a 2D or 3D texture. Displacement maps Displacement maps let you add true dimension to a surface at render time, a process which may reduce or eliminate the need for you to create complex models.
Parent topic: Textures.In visual arts, a texture is any kind of surface detail, both visual and tactile. In Mayayou create surface detail with textures connected to the material of objects as texture maps. Materials define the basic substance of an object, and textures add detail.
You can connect textures to almost any attribute of a material; the most common ones being color, transparency and shine specularity. For more information on material attributes, see Common surface material attributes and Common surface material Specular Shading attributes.
See Map a 2D or 3D texture for a visual demonstration on how to connect a texture map. Do this by connecting textures as bump maps or displacement maps.
See Texture mapping for information on commonly used texture maps. A set of 2D and 3D textures are provided in Maya. In addition, you can create a File texture and connect to it your own image file. You can also bake illumination and color to a texture that you can later apply to objects in a scene.
See Baking illumination and color. Topics in this section 2D and 3D textures Adobe Photoshop texture networks File textures Procedural textures Texture filtering Texture mapping Previewing Ptex textures Test textures and texture ranges Internal texture baking in Viewport 2.
Parent topic: About shading and texturing surfaces.There is no denying that a beautifully constructed model can be both impressive and inspiring. The ability to create something from a handful of vertices and ploygons is a true skill. What some artists struggly with is the idea of taking this model a step further, bringing it to life with colour, surface detail and specularity. The thought of painting texture maps, especially if your 2D skills are a little rusty, can be daunting, but they needn't be.
Over the course of this Maya tutorial, we will explore how to take a model of a futuristic space dock loader and fully texture it, readying it to be rendered. You will explore UV mapping, texture baking and generating a basic texture pass before you go further and spoil the clean, showroom finish with dirt, damage and the odd splash of alien ooze.
Having your model built is only the first stage and unfortunately you can't rush ahead and begin painting your textures yet. Before any paint, dirt, rust or alien fluids can be applied, you must first add UV mapping data to each model. This will help dictate where each pixel will lie across the surface of the model so you know exactly where you are going to be painting. Before you begin to UV the model you have a decision to make.
To Smooth Mesh or to Smooth your mesh. A tricky but crucial decision. Using the Smooth Mesh option will give your model the illusion that it has been subdivided - much like when using Subdivision Surfaces. This route will also keep the polygon count low and manageable. Applying a Smooth operation to your model effectively bakes these subdivisions into the topology. This approach will make UV mapping easier, but at the cost of increased topology and a much larger file size. For the purpose of this tutorial we will focus on the Smooth Mesh route, as it's a little trickier to work with when UV mapping.
Rather than use an automatic mapping system to give your initial layout of UVs, focus on planar projections to start off. This will give you much more control over the first stages of your UV layout. Using the Unfold Constraints, first horizontally and then vertically, is a good way to start relaxing each UV shell while preventing it from collapsing in on itself.
There is however a quick way to get around this problem. With the initial UVs applied, before you use the Unfold UVs tool, duplicate the model and move it to one side so you can focus on it without getting distracted by the rest of the Loader.In Maya you can integrate images found from the Web or your very own textures to use for 3D models, reference images and related projects. Select Window from the top menu bar, then select Rendering Editors then Hypershade.
The Hypershade is Maya's version of a material editor. Here you can create materials in Maya using the included material library and use custom shaders for whatever texture you choose.
In the Hypershade there are three default materials named lamber1, particleCloud1 and shaderGlow1. These should be left alone as backup default materials, should a setting go astray.
To view your texture you must create a new material or shader to display the texture by clicking Create then Material and selecting Lambert. Lambert is the name of the default shader applied to the surface when modeling inside Maya. You can also use any material you wish; Blinn and Phong are both common shaders with different specular values affecting the shininess of the material. After you create your material, the name changes to lambert2 -- you can also see this change in the materials tab located in the top right box of the Hypershade.
If you double click the Lambert material in this window the Attribute Editor pops up with different options. Material settings are adjustable through sliders as well as fields for entering values to increase or decrease each attribute. Within the Attribute Editor, there is a checkered box on the far right end of the color's attribute slider. Double click the checkered box to bring up the Create Render Node menu. Select File.
Under the File Attributes box in the Attribute Editor there is a field called Image Namewith a blank square and a folder similar to a typical folder icon. Left click the icon to bring up the File Browser to choose a texture.
To view the texture in 3D space you need a base to hold the image, similar to paint being held by the canvas. Click the top menu and selecting Create followed by Polygon Primitives and Plane. Use the R key and left-click and drag to scale. Scale up the plane so that it covers most of the grid. To apply the texture to the plane go back to the Hypershade menu and locate the material you created.
Left click to select your material in the Hypershade, then middle mouse click and drag the cursor to the created plane and then release the middle mouse button. Another method of applying a texture is first to select the material in the Hypershade shown when the green box bordering the material changes to yellow, indicating a selection. In the viewport select the plane in 3D space and right click to Assign Existing Material and choose the desired texture. The Shaded Display is the default setting in Maya.
To cycle between the Shaded Display and the Shaded and Textured Display press the 5 or 6 keys, respectively, to view your texture. How to Import Textures Into Maya.Now concentrate on the tire.
To give the tire the tread look you must apply a texture to the Bump Mapping attribute of the Lambert material. Click here to download texture Now you need to adjust the texture placement for the tire.
You currently can't see what it looks like but you can do a quick render by clicking on the Render current frame icon. Notice the texture is not well placed. In the Attribute Editor click the Place2d texture tab for the image file and adjust the settings as seen in the following image:. Finally you need to change the bump value for the Lambert material. Select the tire and in the Attribute Editor under the Lambert tab click the button beside the Bump Mapping attribute.
This will take you to the File tab. Now you will work on the Blinn Material for the wheel. This will give you the setup you need to get a chrome look. You need to set up a light.
Map a 2D or 3D texture to a material
Prepare for your render. You are now ready to render. You may have to increase each surface's tessellation for better quality. Feel free to discuss this tutorial in the Maya forum at Creativecow. If you found this page from a direct link, please visit our forums or read other articles at CreativeCOW.
Used by permission Article Focus: In this tutorial by Nelson Cruz, you will be applying textures to and rendering the wheel that you created in part one of the series. The three main areas you will look at are texturing, lighting, and rendering. This is part two of a two part series.
How to Import Textures Into Maya
You need to use Hypershade to create materials and apply them to the objects. You need to create two types of materials, a Lambert for the tire and a Blinn for the wheel. Select each material once and notice they show up in the Work Area tab in the Hypershade window.
To apply these materials to the wheel and tire: Select the wheel group so the entire wheel is selected. Do the same for the Lambert and apply it to the tire. In the Perspective view select the tire and press Ctrl-a. This opens the Attribute Editor on the right side of the Maya application window. Select the Lambert tab in the Attribute Editor.For more information about texture mapping, see Texture mapping. To connect a texture to a material using the Attribute Editor.
If you are selecting a 2D textureright-click the texture and select a mapping method Create texture create normallyCreate as projectionCreate as stencil.
If you do not select a mapping method, the default method Create texture is used. If you are selecting the File texture, map to the image file by clicking the browse icon beside the Image Name attribute. To connect a texture to a material in the Hypershade work area. Alternatively, you can drag and drop the texture from the Create tab into the work area. In this example, a Fractal texture is created and mapped to the transparency of the material.Maya 2017 - Texturing - Part 1
If you are working in Mac OS X, 2D textures must be used as projections when they are placed on volumetric objects. To connect a texture to a material using the Attribute Editor Select your material in the Hypershade.
In the material Attribute Editorclick the map button beside the attribute that you want to connect a texture to. The Create Render Node window appears. Select a texture from the Create Render Node window. Note: A icon indicates that a texture has been mapped to an attribute.
Parent topic: Texture mapping.In the event of neither player reaching the number of points required (because of abandonment) then bets on that market will be void. If the relevant game is not played then all race markets for that game will be void. In-Play Point Betting - Bets are offered for a player to win the nominated point. Total Point Betting markets are based on the statutory number of games being played.
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Match must be completed for bets to stand. In the event of a disqualification or retirement all bets will be void. In the event of a set starting but not being completed then all bets will be void unless settlement of bets is already determined.