3. UV UV refers to coordinates that are independent of the XYZ axes.

To
work with UV maps, you need to be able to unfold and fold your 3D artwork,
and also cut and sew parts together. To work with UV maps, you also need to
maximize space on your work area (the UV Texture Editor).

4.How to give texture in substance painter

- [Instructor] So to add a texture to that screen, let's go over to the screen
texture set and our layer stack is empty. So, let's go ahead and add a fill layer,
right here. And in this fill layer, we're going to put our texture.
5.Tools in photoshop
TOOLS IN THE ENHANCE GROUP OF THE EXPERT MODE TOOLBOX
Eye tool (Y)
Removes the red eye effect, pet eye effect, and corrects closed eyes in your
photos. For more information about the tool, see Precisely remove red eye,
Remove the Pet Eye effect, and Correct closed eyes.

Spot Healing Brush tool (J)

Removes spots from your photos. For more information about this tool, see
Remove spots and unwanted objects.

Healing Brush tool (J)

Removes spots from your photo by selecting a part of your photo as the
reference point.

Smart Brush tool (F)

Applies tonal and color adjustments to specific areas of a photo.

Detail Smart Brush tool (F)

Paints the adjustment to specific areas of a photo just like a painting tool.

For more information about Smart brushes, see Adjust color and tonality using
the Smart Brush tools and Apply the Smart Brush tools.

Clone Stamp tool (S)

Paints with an image sample, which you can use to duplicate objects, remove
image imperfections, or paint over objects in your photo. You can also clone
part of an image to another image. For more information, see Clone images or
areas in an image.

Pattern Stamp tool (S)

Paints with a pattern defined from your image, another image, or a preset
pattern. For more information, see Use the Pattern Stamp tool.

Blur tool (R)

Softens hard edges or areas in an image by reducing details. For more
information, see Blur or soften edges.

Sharpen tool (R)

Sharpens a photo by focusing soft edges in the photo to increase clarity or
focus. For more information on sharpening, see Sharpen an image.

Smudge tool (R)

Simulates the actions of dragging a finger through wet paint. The tool picks
up color where the stroke begins and pushes it in the direction you drag. For
more information on the tool, see Use the Smudge tool.

Sponge tool (O)

Changes the color saturation of an area. For more information on how to use
the tool, see Adjust saturation in isolated areas.

Dodge tool (O)

Lightens areas of an image. You can use the tool to bring out details in
shadows. For more information on the Dodge tool, see Quickly lighten or
darken isolated areas.

Burn tool (O)

Darkens areas of the image. You can use the tool to bring out details in
highlights. For more information on the Burn tool, see Quickly lighten or
darken isolated areas.

6. UV unwrapping
A UV map is the flat representation of the surface of a 3D model used to easily wrap textures.
The process of creating a UV map is called UV unwrapping.

The U and V refer to the horizontal and vertical axes of the 2D space, as X, Y and Z are
already being used in the 3D space.

Once the polygonal mesh has been created the next step is to “unwrap it” into a UV map.
Now to give life to the mesh and make it look more realistic(or stylized) you want to add
textures.

However there is no such thing as a 3D texture, as they’re always based on a 2D image.

This is where UV mapping comes in, as it is the process of translating your 3D mesh into 2D
information so that a 2D texture can be wrapped around it.

7.Substance Textures and Exporting

Output directory

Click to change where to export your textures. Click the R to the right of the directory location
to reset to the default directory. This path is saved per project.

Output template

Select the template that defines how your textures are exported. You can customize or create
templates under the Output Templates tab.

File type

Change the format used to export your textures. With most formats, you can also adjust the
bit-depth of the exported textures here. You can see more about supported file formats and
bit depth below.

Size

Size changes the square resolution of exported textures. By default this is set to Based on
each Texture Set's size, but you can change this to manually adjust output size.

Padding

Change the method used to fill space that not covered by UV islands. Some padding methods
allow you to adjust the width of the padding in pixels, use the dropdown to the right to
change this value.

Export shaders parameters

When this check box is checked, Painter will also export a JSON file that contains the shader
parameters. This is useful in some advanced workflows.

8.Explain Rendering
The first step using either method is to configure the Render Settings.

1. Open the “Render Settings” dialogue box by either selecting Render → Render Settings within

the “Rendering” menu set or by clicking the icon in the top

 Render Layer should always be set to

“masterLayer”
 Render Using allows you to choose what
renderer you want to use to export your
project. The default is “Maya Software.” If you’re
unsure what renderer you are using, leave it as the
default.

3. Within the “Common” tab just beneath the previous settings, the first section is “Color
Management.” To ensure that your output matches your previews, the Apply Output Transform to
Renderer should be unchecked.

4. The “File Output” section allows you to manage the output naming conventions.

 File name prefix refers to the name of

your file, it should be something that easily
identifies your project.
 Image format is the type of files your
render will export as. “Tiff” is a good choice
as it is data rich yet reasonably sized.
 Frame/Animation ext is the scheme
your filenames will follow. The “name_#.ext”
option will allow the files to be interpolated
in After Effects properly.
 Frame padding is the number of digits
the frame number will be expressed as. It
should be set to the number of digits the last
frame in your animation contains. A 400
frame animation would be set to “3” where
as a 4000 frame animation would be set to
“4.”
 5. “Frame Range” allows you to select to
render specific portions of your project. To
render the entire project set Start frame to
“1.000” and End frame to the last frame in
your project.

 Note: This is useful to have multiple

computers render alternating frames.

 The By frame refers to the

increment by which frames are rendered. A
value of “1.000” will render every frame
whereas “3.000” will render every third
frame and so on.

6. Under “Renderable Cameras” ensure

that Renderable Camera is set to the camera
which you have animated and not “pesp”
which would just render the perspective view
repeatedly.

 Alpha channel
(Mask) and Depth channel (Z depth) are
useful for advanced composting but for
most purposes can be left at their default
states.

7. “Image Size” allows you to adjust the

resolution of your outputted
project. Choosing an option like “HD 720” or
“HD 1080” from Presets is correct for most
projects. The presets option adjusts the rest
of the section’s settings automatically.

8. The remaining sections, “Scene Assembly”

and “Render Options” should be left at their
defaults as pictured to the right.

9. The other tabs vary depending on your selection for Render Using and should be configured
individually. If you’re using “Maya Software” it’s best to set Quality to “Production quality.”

Batch Render
 A batch render will export your project in the background and allow you to continue working in
Maya or elsewhere on the computer.

1. In the “Rendering” menu set select Render → Batch Render to start the rendering process.
2. Maya will show the status of your render in the lower right status

bar.
3. The exported images by default will be in your project directory’s “images” folder.

Note: If using the Arnold Renderer, files created via a Batch Render will be watermarked, to avoid
this, render via the Render Sequence Process detailed in the next section.

9.How to paint an object in Maya

o accept paint, polygonal and subdivision surfaces must have non-
overlapping UVs that fit within 0 to 1 in the texture space. In
general, Automatic Mapping produces UVs that can be used for painting. For
details, see Polygonal Modeling and Subdivision Surface
Modeling ( www.autodesk.com/maya-docs-archive ) .

Another requirement is that surfaces must have an assigned texture before

painting. Texture can be assigned as part of the procedure below.

Note: Be sure to assign a new shader before painting your object; otherwise,
you will modify the default shader. If this happens, the painted texture will be
assigned to any new objects you create in your scene.

To paint on a 3D object

1. Select the surface(s) you want to paint on.

Note:

2.
3. In the Rendering menu set, select Texturing > 3D Paint Tool > to
launch the tool and open the Tool Settings editor. See 3D Paint Tool
settings.
Tip: To ensure that you get expected results when you paint, it is
recommended that you reset the tool settings before starting to paint. To
do this, click Reset Tool.

4.
5. Beside Attribute to Paint (in the File Textures section of the Tool
Settings editor), select the attribute you want to paint. The default is Color.
 1. If you have not previously painted or assigned file textures to
one or more of the surfaces, the following warning appears on
the Command Feedback line:
Warning: Some surfaces have no file texture assigned to the current
attribute.

2.

Also, the brush outline displays an X ( ) across it when you move the
brush over the surface to indicate that you are unable to paint on the
selected attribute texture.

3.
4. If you have previously painted or assigned file textures, you do
not get the warning, and the brush displays without the X, so you are
ready to paint. Skip to step 6.
6. Click Assign/Edit Textures. The Assign/Edit File Textures window opens.
7.
Enter a size for the texture in the Size X and Size Y boxes, then select
an Image Format and click Assign/Edit Textures. The Keep Aspect
Ratio option ensures that the proportions of the image are maintained.
Turn this option off if you want the width and the height of the texture to
be different.

8.

The maximum texture size is 16384 x 16384 and must be a

power of 2 in each dimension. Textures larger than 4096 x 4096 may yield
slower performance.

9.
The .iff image format (default option) only supports textures up to 8k in size.
If you select a size that is greater than 8k, an error will appear in the Help
Line. You can workaround the issue by saving the texture as smaller than
8192 x 8192 or by selecting a different image format.

10.
Tip: To assign different-sized textures to different surfaces, select each
surface or group of surfaces separately and assign textures to them. Once
the textures have been assigned, you can select any combination of
surfaces to paint on.

11.
12. Set a base color for the model and save the texture. This establishes the
texture you will erase back to. Do this as follows:
1. In the Flood section, click the Color swatch and select a color
from the Color Chooser.
2. Set the Paint Operations to Artisan Paint.
3. Click Flood Paint, and then click Save Textures in the File
Textures section.
13. Select a brush to paint, erase, clone, smear or blur. For details,
see Select a paint brush.
14. Modify any other settings as required and drag on the model to paint.
For information on these settings, see 3D Paint Tool settings.
If you are painting Single Channel (grayscale) attributes such as bump, or
diffuse, the color you paint is automatically converted to grayscale.

15.
16. Once you have finished painting one attribute, you can paint another
attribute, without leaving the tool, by selecting the attribute
beside Attribute to Paint. The first time you paint an attribute, you will have
to assign a texture for it, unless a texture was already assigned
in Hypershade.

10. Standard Surface

Standard Surface is a renderer agnostic, uber surface shader that can be used
to model the majority of materials used in visual effects and animation
productions. It implements the Autodesk Standard Surface
specification version 1.0.1, and can be used by multiple renderers to achieve
similar rendering results via a single surface shader. Standard Surface is easy
to use as it has a minimal set of the most useful parameters, all of which are
chosen to be artist-friendly and intuitive.
Standard Surface is a default node in Maya, and a standardSurface1 node is
created with every new scene. To assign it to an object, right-click and
select Assign Existing Material > standardSurface1 from the marking menu. To
create additional instances of this shader, click on Standard Surface in
the Create tab of the Hypershade or click its icon in
the Rendering shelf. Assign these shaders to your objects as you would any
other shader.

Presets such as car paint, frosted glass, and plastic are available.
Click Presets on the Standard Surface Property Editor or Attribute Editor to
select and apply a preset.
See Model glass or metal with the Standard Surface shader for a beginner
tutorial that demonstrates how to model a glass or metal material using
Standard Surface.

Standard Surface attributes

Standard Surface consists of the following components:

 Transparency
 Coat - a layer that sits on top of all other layers
 Emission - a layer below coat that is useful for simulating light sources
with a coat on top
 Metal
 Thin film - a layer on top of the specular components that can be used
to create spectral coloring effects
 Specular reflection and refraction
 Sheen - a layer to model cloth
 Diffuse reflection and refraction
 Subsurface scattering
A tooltip with a brief description appears when you mouse over each attribute.
For a detailed description of the attributes, see the Autodesk Standard Surface
Whitepaper. See also the Arnold for Maya User Guide for a description of the
Arnold implementation of the Standard Surface shader.

Renderer support
You can preview Standard Surface in the viewport, in all of the DirectX
11, OpenGL - Core Profile (Compatibility), and OpenGL - Core Profile
(Strict) modes. OpenGL - Legacy mode is not supported.

Rendering with the Arnold for Maya renderer is supported, and you can
preview Standard Surface in the Material Viewer of the Hypershade using
either the Hardware or Arnold renderers or any other software renderer that
supports Standard Surface. In addition, the Maya Software and Maya
Vector renderers also give approximate representations of Standard Surface.

Lighting support
Standard Surface works with both direct and indirect lighting (image based
lighting) in the viewport and in the Hypershade Material Viewer.

Limitations
 

Almost all attributes on the Standard Surface node can be previewed in the
viewport. Attributes that are not supported are:



Transmission attributes, with the exception of Weight, which is supported




Subsurface attributes



Thin Film attributes




Thin Walled attribute




Coat Bump Mapping




Standard Surface materials are not included when exporting an object or a

scene to a GPU cached file.


Note: Export your Standard Surface materials via FBX files

instead.

 Use Flat Lighting viewport mode is not supported

 Coat roughness only affects direct lighting and not environment
lighting in the viewport, as the viewport only supports one roughness
attribute when calculating environment lighting. The Specular >
Roughness attribute is used for these calculations, and therefore Coat >
Roughness is ignored.

11. Different types of Maps and its explanation

To apply a texture to an object, you map the texture to an attribute on the
object's material. (Textures and materials are render nodes. Render node
attributes describe how the node appears and behaves; for more information,
see Render nodes.) The attributes 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.

For example, if you connect Maya’s 2D black and white Checker texture to the
color attribute of an object’s material, you have applied a color map; the
checkered pattern determines which parts of the object appear black and
which appear white (or other colors if you adjust the texture’s color attributes).

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.

Commonly used texture maps

To map a texture, see Map a 2D or 3D texture.

Color maps
By mapping a texture to the Color attribute of an object’s material, you create
a color map which describes the color of the object.
To learn more about how you can work with color, see Common surface
material attributes.

Transparency maps
By mapping a texture to the Transparency attribute of an object’s material,
you create a transparency map which lets you make parts of an object opaque,
semi-transparent, or entirely transparent.

To learn more about how you can work with transparency, see Common
surface material attributes.

Specular maps
By mapping a texture to the Specular attribute of an object’s material, you
create a specular map which lets you describe how shine appears on objects
(by controlling highlight).

To learn more about how you can work with highlight, see Common surface
material Specular Shading attributes.

Reflection maps
By mapping a texture to the Reflected Color attribute of an object’s material,
you create a reflection map which lets you describe how an object reflects its
surroundings.

To learn more about how you can work with reflection, see True reflections.

Bump maps
By mapping a texture to the Bump attribute of an object’s material, you create
a bump map which lets you add the illusion of surface bump detail to a
surface.

To learn more about bump maps, see Bump maps.

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.

To learn more about how you can work with displacement maps,
see Displacement maps.

12. Explain Modelling and its step till rendering

Maya provides a good modeling system called NURBS (Non-Uniform Rational B-
Splines). This system is not about creating objects together. It creates objects from
curves and surfaces rather than fixed polygons. To do the rendering of any object, we
need to add color, material, texture, and lightning to any object. To do that, follow
the below steps.

Step 1: To do that first, import or design the object in Maya. After importing that
modal, keep “shading all” and “wireframe on shaded” tick marked.

Step 2: Now, we have to add material on an object; to do so, right-click on an object

a pop will appear to click on Assign New Material from the pop-up menu.
Step 3: Now select suitable material from the pop-up. Here we have selected Phong
from the list.

Step 4: Attribute list will appear. Select suitable attributes from the list like color,
transparency, etc.
We will select the color as required. We can drag on the color list to change it
according to our will.

Step 5: Now, we can add texture to the object by clicking on the right side of the
color box.
A pop will appear to select a suitable texture from the appeared window.

Step 6: Here, we had selected a checker as the texture for the object.
We can also change 2 colors of the texture by clicking on the color and selecting a
suitable color.

Step 7: We can also select suitable shading and lighting for the object from the
toolbar appearing on the menu bar.

Step 8: The next step is to add a camera to the object to illuminate it to get a good
quality rendered view. To do that click on create > camera > camera.
Step 9: This will automatically allow opening the camera on your screen.

Step 10: Now, we can select the suitable location of the camera by translating it into
3 axes that are x, y, and z-axis.
Step 11: We can also rotate it about 3 axes according to object location.

We can also resize the camera for a suitable render.

Step 12: Now, we will render the view for that click on Open Render View icon
appearing on the top of the screen.

Render window with an object will appear on your screen.

Step 13: Now, we will change the render settings according to our requirements. For
that, click on the Display Render Settings icon appearing in the rendering window.

Step 14: A rendering pop up window will appear on the screen to change the
rendering settings.
The file is saved at the correct location, image format accordingly as jpeg or any
other image format from the appeared format.

Step 15: We can also change how the camera will be focused on an object. For that,
we can change its views like the front, top, side and perspective view. We can also
change the size of the rendered image in terms of pixels.
We can also change the image quality that we need with this software. Since the
rendering tool takes a lot of time, RAM and memory make one rendered image and
select suitable image quality from the appeared window.

Step 16: Now, we will go to Maya software appearing next to Common settings. We
can change quality as custom, preview quality, intermediate quality, production
quality, custom sensitive quality, and 3D motion blur production according to user
requirement.
Step 17: Now, change the process to rendering. By doing this, all the rendered tools
will appear on your window.

Step 18: The final step is to click on the render button to start and complete the task
with the above settings.
A final rendered image can be check from the saved location of the image.

Conclusion
Above, it has been explained how we can create basic rendering using Maya software.
We can also create full animation using rendering images by controlling frame speed.
The outside environment of an object also plays a major role, so select suitable
brightness and contrast of the environment to create any rendered image.
13. Tools used in modelling

1.The Transform Tool

Transform is the first thing you need to know while using Maya. For changing the
transform of an item, the tools available in the toolbox are select, move, rotate, and
scale. You can utilize the transform tool while you are in the modes of — move,
rotate or scale. The hotkeys for them are w, e, and r, respectively. You can freely move
or rotate the selected objects by clicking and dragging them. If you choose a
particular handle, then the action is limited to that axis alone. You can double click
the toolbox icons to access the above move, rotate, and scale tool options.
2. The Move Tool
The move tool is located in the toolbox. To use it, first choose an object you need to
move. Upon selecting it, you will see a controller appeared with four handles. They
are used to move the object along each axis and one to move along the planes. Also,
the colour changes to indicate that it is active when you select a handle. By default,
the colour will be yellow.

3. The Rotate Tool

The rotate tool is used to rotate objects in all three axes. Select the rotate tool
available in the toolbox and select the object you need to rotate. Now you will notice
four rings colour coordinated to XYZ axes. A virtual sphere is also displayed along
with the rings. You will know the selected ring by the change in colour. To perform
constrained rotations, use X, Y, Z rings. In order to rotate according to the view, use
the outer ring. When you start rotating the object, the application rotates it based on
the object’s bounding box. If you need to rotate it in fixed increments, you can use
the snap option. E.g., if you set the rotation degree to 15, then you can easily rotate
the objects in order of 30, 45, 60, and 90-degree positions for better symmetry. The
snapping can be only used from the manipulator’s axis handle.

4. The Scale Tool

Utilize the scale tool to alter the dimension of the items by scaling uniformly in each
of the three measurements. You can likewise scale unevenly in one dimension at any
given moment. Snap the scale tool symbol in the tool compartment and choose the
item you need to scale. Maya shows a scale controller comprising of four handles.
5. Insert Edge Loop Tool
The insert edge loop tool is one of the most important tools available in Maya for
modelling. Using it, you can create a continuous subdivision (edge loop) in your
mesh, thereby increasing its resolution.

6. Crease Tool
The crease tool is used to harden or smoothen the polygonal mesh by modifying it. It
works by creasing the edges and vertices of a polygon mesh. However, it does not
have an effect on the resolution. You can go to the option from the mesh tools. There
is also an easy shortcut key for the crease tool: Shift + right-click an object.

7. Sculpting Tool
As the name suggests, the sculpting tool allows you to sculpt digital surfaces in 3D,
similar to clay sculpting. The process is similar but just replaces the clay with the
polygon. There are multiple sculpting options available from the sculpting tool
options available under the mesh tools.

8. Quad Draw
Useful for creating topology meshes, users can model in a natural manner. It offers a
streamlined and easy workflow. The reference surface can be retained while you get
to make clean meshes manually.
9. Create Polygon
If you need to generate individual polygons, you can make use of this option called
to create the polygon. You can create new polygons by inserting vertexes from the
scene view.

10. Soft Modification Tool

This tool lets the user push and pull geometry. The standard-setting by default has
the maximum deformation amount at the centre of the push/pull. The amount
decreases away from the centre. Based on your needs, you can set the level of
deformation to create different types of effects. This tool can be used in polygon,
NURBS, arches, particles or any items with components.

11. Show Controller Tool

This tool can be used to modify the building history of a process or the qualities
attributed to an object. It is used to know about the input node of a created item.
There will be multiple manipulators accessible at a time. It is an effective way to know
the construction history of a particular object you need to work on.
14. Difference between multi cut and insert
edge loop tool
the multicut tool creates a cut between two points you give it. It is a good
tool to solve edgeflow issues where you need multiple cuts that connect to a
point in the middle of a face, for example when you want to split an NGon or
connect the edge of a Tri to the edge of another Tri. It doesn't restrict you in
any way unless there is empty space within the cut. So you also can use it for
cuts that need to look very straight and even but don't really align with the
rest of the edgeflow.

The insert edgeloop tool splits polygons, it will cut all polygons within an
edgeloop in the same ratio until it reaches an NGon or Tri, where it can't
determine an opposite side and therefore doesn't know there to cut next. This
is a lot faster that cutting polygons one by one. It's also really handy because
the "multiple edgeloop" setting allows you to evenly distribute multiple cuts
within a polygon or split a polygon precisely in half. But it has the restriction
that it needs clearly defined edgeloops

15. Difference between automatic uv &

manually
If your model does not require a perfect UV map done manually, then the
automatic UV map is what you need. Textures will work very well after using
this feature, and there will be no problems. Largely, the only difference
between the automatic UV map and the manual one is their aesthetic look

16. Which maps are used in substance painter

for exporting.
 BMP.

 ICO.

 JPEG.

 JNG.

 PBM.