Creating, Texturing and Rendering a Wine Bottle & Box: Adding Ribbing to the Box with a Gradient

Photo of Raymond Olsen

Instructor Raymond Olsen

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  • Duration: 16:16
  • Views: 3507
  • Made with Release: 19
  • Works with Release: 19 and greater

Using the “Mix Textures” option in the texture tag to combine material channels and texture projections.

We’ll begin by making a close up camera to view the cardboard texture in detail. We’ll then create a new “ribbing” material and use a tiled gradient in it’s color channel to line up a rib pattern on the box. Next we’ll cut and paste that gradient into the bump channel and then deactivate the color channel leaving only the bump channel active. Then we’ll fine tune the original cardboard material and add a roughness map to it’s reflection layer. We’ll finish up by placing the ribbing texture tag above the cardboard texture tag and below the box stripe texture tag. The we’ll enable the ribbing texture tag’s “mix textures” option to allow the ribbing material’s bump channel to be mixed with the cardboard material’s bump channel.



In this video, we'll be adding corrugated cardboard ribbing to the wine box by using a tiled gradient bump map. Then we'll break up the reflections and roughen the surface of the box by using a noise texture. So, we're going to be focusing on this subtle ribbing that you can see in my final here, and breaking up the reflections. And you can see both of those characteristics in this close up view here of my reference material. So, let's go ahead and do that in our 3D scene. And before I get started, I want to keep my left upper-hand view port as my render view, I want to keep my top view here, but I want to change that to lines, so I can see through the light plane. And in the bottom right, I'm going to change that to another perspective working view, so that way we can look around in here and work. And I'm going to change that to quick shading, just so we can see our textures as we build them. And I'd also like to create a close up camera, so we can get nice and close to the cardboard as we work. So, I'm going to CTRL+drag my two page camera. I'm just going to append that with close up at the end, CEU, and look through that. And then, I'm just going to crank up my focal length, which is going to zoom us straight in. And then, I'm going to use film offset X and Y to adjust my framing. If you use the move tool up here, it actually adjusts what we're seeing on the left and right sides of the box, the perspective changes. So, if I undo that, if you notice here, when I use the film offset, that perspective stays exactly the same. So, this is exactly what we're seeing from the wide view, just in a different framing. So, that's how I like to do my close up cameras. So, if I turn on IRR, you can see we get a nice close up view of that cardboard. And currently, the cardboard looks like reflections on the surface are already being broken up, but that's a result of the low work in progress setting that we're using. If we were to render this right now, this is what we would get. This is completely smooth surface. So the grain that we're seeing in our work progress render setting, is just something that we're going to have to deal with. And if you want to check your work as you go, you just have to render at a high quality like this, and it'll just take a little bit more time. But we're just going to deal with the grain and knock this out. So, let's go ahead and start with the ribbing. And to do that, I'm going to create a standalone material, just for the bump of the ribs. I'm going to name it Ribbing. And all we're going to use is the bump channel in this material, but you can't see bump channels in the view ports, so we're going to set this up in the color channel, and then copy it over to the bump. So, in the color channel, I'm going to put a gradient, and we're going to use a 2D V gradient so it's up and down, and I'm going to build a single rib in this gradient. So, let me do that real quick. I'm just going to move these knots around. So, here's our single rib. We're going to use this single texture and tile it up the box, and that's going to give us all of our individual ribs. I don't want to keep the black knots at the very end, because that means as our tile happens, we'll get a point at the end. If you slide it out a little bit, you kind of get a little plateau on the ends, and if you have two knots in the middle, you get a little plateau in the middle as well. So, we have a high plateau rib, and then a low plateau on the bottom, which are our little valleys. So, that's our single rib, so let's go ahead and apply that to our top. Now you can see we've got a single tile on each face of our object, but since these faces are all different sizes, all of our ribs are going to be different heights when we start to tile this. So, if I tile this up to, let's say, 15, you can see we've got big, fat ribs on top, and skinny ribs down here. So, we need to fix that and if we change this from UVW mapping to cubic, and then turn on our texture and access tools, you can see, here's our new cubic projection. If we just scale that projection down with texture and access tools active, you can see, now we've got ribs all the same size on all the faces. So, I"m going to use my top view and just scale this projection up to where it's just a little bit bigger than the box. Turn off my texture and access tools. And now we can jack up that tiling a little bit more, and 50 is the number that I came up with, to give me a nice row of tiles down the top. But I also want the ribs on the side to line up with the top ribs. So that way, it was a continuous piece of cardboard that got folded across the top and then down the sides, and then folded down at the end. So, the end looks okay, but I'd like the sides to be pointed up. So, we can do that with the texture tool. I'm going to turn on texture and access, and I can just rotate it in this direction to line up my ribs. And that was 90 degrees in pitch, over here in my coordinates tab of the texture tab. Now my ribs are lined up the way I would like them, so let's go ahead and copy that over to the bump channel now. So, I'm going to double-click my ribbing material, I'm going to copy the gradient for my color, go to the basic tab, and then I'm going to turn off color and turn on bump. Now, I'm just going to activate the bump tab, highlight that texture by clicking on it, and just paste our gradient in there. So, you can no longer see it, but that's why we use the color channel to set it up. It's good to go, but we just won't see it until we render. I'm going to come over to the render view, and in the wide view, I'm going to go ahead and turn on IRR so we can see what's going on. And right now, we're not seeing anything, because this texture has no reflectance channel to interact with our lighting. So, I"m going to go ahead and move that texture underneath the stripe, so you can see the layering start to happen. So, there's our stripe on top of our texture. And now, all we have to do is turn on mix textures in our ribbing material. And now, you can see our ribbing's starting to show up. I'm going to go up and crank that up to 100 so you can see it better. And that was just in the ribbing material in the bump channel, I just cranked the strength up to 100. Now, when you click mix textures on any of your texture tags, it's going to mix with anything to the left of it, until it hits a texture that doesn't have that mix selected. So, I could have two or three textures all mixing together, until it hits this base texture here, that does not have the mix textures active. You can check out the help file and it really goes into detail on this, but that's just the basics. So now, we're mixing our ribbing texture with our cardboard texture, and that's good for the ribs for now. We'll fine tune them later. Now, let's go ahead and focus on the cardboard material by pulling it to the top, and we'll go ahead and roughen the reflections and pit the surface. Let's go ahead and save out a version before we get too far. So, I'm going to save in incremental, which takes me up to version five. And we need to start out by doing the exact same thing we did with our bump channel. Right now, our texture tag is actually set to spherical. So, if I double click and jump into that, come into the default diffuse layer, and dump a checkerboard into there in this References menu, and then crank up the tiling on that checkerboard, you can see it's all messed up because of the spherical projection. Come out to our quick view here, and that's not going to work. As we apply our noise map,that will completely distort it all over the place. So, let's just do the same thing we did with our bump texture by changing that texture projection to a cubic, jump into our access and texture tools, select the top again, and then scale that projection right down to about the same size. And now, we've got even checkerboarding across all surfaces. So, as we apply our noise map, there will be no distortion. Let's jump back into that texture and just clear that out. That's a pretty common method of checking your UVs and checking your textures, is checkerboard like that, to make sure there will be no distortion. So, let's go ahead and add some roughness to this texture. And I'm actually going to use the roughness that we added to the label. So, if you click the label in the default diffuse, here is that texture right down here in the bump strength channel of that diffuse layer. I'm going to click the texture, right-click and copy. And now, we can get back to the cardboard, I'm going to turn on interactive render region, double click to get back into the cardboard texture, and we're going to apply this to the default reflection layer in the roughness. And we're going to use this noise as a roughness map. So right now, we're at 30%. I'm going to go ahead and crank that up to around 75. And now, you can see that reflection is kind of diffused all over the surface. But if we add this texture to the roughness map, now you can see it's mixing the rough texture with no roughness. So, that kind of breaks up that surface texture a lot. And it's using the black and white values to mix this 70% value with a 0%. So, there's parts of this that are very shiny, and other parts that have a 70% roughness now. And that breaks it up, but the pattern is way too big. Remember, we're going for something like this. So, that's a really tiny pattern, but you can see that same effect. We've got almost no roughness here, roughness here. So, let's just scale down that pattern. Right now, it's at 100% global scale. I'm going to drop it all the way down to, like, 5. And now, you can see that's getting much closer from the wide angle. Let's take a look at the close up. And that's looking pretty good. I think I might take it down even further, to about 3%, and that looks pretty good to me. Compared to my reference photo, I think that's getting close. And this doesn't have to be perfect. This is just a texture that I'm emulating. So, as long as it looks nice from the wide view, that's all I really care about. But mimicking those physical textures just helps me get here much faster. I'm going to tighten this up. So, yeah, that's looking pretty good from the wide view. So, now that we've got the reflections being broken up, I'd like to copy this texture into the bump channel to roughen the surface up. Right now, our reflections are being broken up, but it's on a completely smooth surface. So, let's go ahead and go up one level and copy that texture. And I'm going to use the bump channel, in this material, to make it easier to mix our two texture tags. So, go ahead and turn on the bump channel. I'm going to activate the bump tab, and just paste our texture right in there, and immediately, you can see, the surface is really, really rough now. If we come out to the wide view and take a look, almost looks like asphalt. So, that's a little much. But all we have to do is drop the strength down to a reasonable value to give it a very subtle roughness. So, this is about 3% that I'm using for a strength in the bump channel. And that's pretty close. I think it's just a little bit high. If we come into the close up and take a look, see what it looks like. Yeah, I think that's just a little bit high. So, I'm going to drop it one more to 2%. So, that's pretty good. I'm happy with that. I'm trying to keep this very basic so we can get through it. But I'm going to turn it to 0, and you can see the roughness in that texture going away. So now, it's just a flat surface. If I put in the 2%, you can see it immediately getting roughed up a little bit. So, I think that'll work for the roughness and reflections. Now, let's put this back at the bottom of the stack and watch what happens when we mix it with our ribbing. So, I think from the close up view, the ribbing's definitely too much. But let's take a look at the wide view, and I'm just going to focus on the right side, so we can look at our box. And I'm happy with the overall look, but the ribbing is just too intense. So, let's come over to the ribbing. Now I'm going to drop this by half in the strength of the bump, I'm just going to take it from 100 to 50. And I just hid my access tool with the ALT+D key, just to get that out of the way, but I can still have my top selected. And I think that'll work. It's a very subtle ribbing. You can even turn it down more probably, if you wanted to. But it's all subjective at this point. You just do what you think looks best. The last thing that I wanted to do, is I just want this edge to catch just a little bit more light, and we can do that with our bevel deformers. I'm going to grab both of them, and I'm going to crank my offset up to 0.06 centimeters. And you can see instantly, that little edge there caught just a little bit more light, and that's what I was after. And I came up with that value by coming real tight into this corner here, and increasing the value just enough to where it didn't screw up this edge. Like if you come up to 1, or 0.1 even, you can see that bevel is intersecting itself. So, I just kind of inch that value up just a little bit, until I got a nice rounded corner right there, as much as possible, so I could catch the most light. Now, the last thing we need to do before we move on, is adjust the bottom of the box. You can see it's still got that spherical projection, and it does not have our ribbing. But because these were essentially the same object that I modified just a tiny bit, we can actually just copy these two texture tags that we fine tuned, over to the bottom box. So, I'm going to select the original box cardboard tag that we had put on there, and just delete it. And then, I'm going to select the two that we just got done fine tuning, and CTRL+click them right up there. And now if I activate the texture tool, select the bottom, and select the texture tag that's applied to it, you can see, it's transferred the scaling of our projection and the cubic property, right on over. Same deal with our ribbing. So, if you have two objects that are the same like that, you can copy and paste texture tags at will, and it should translate right over. I'll go ahead and render so we can see both of those together. And that looks pretty good. So, that should do it for the cardboard. I highly recommend checking out the texture tag help file. It explains all this in much greater detail. We'll finish up in the next video, with the orange materials and the wood.
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