Texture Painting - Blender Master Class: A Hands-on Guide to Modeling, Sculpting, Materials, and Rendering - page 181

In Review
In this chapter, I've covered using both Blender
and GIMP to create textures, starting with our
baked textures as a foundation and building up
layers of detail and different images. We've used
Blender's Texture Paint mode, cloned textures in
both Blender and GIMP, and used seamless tex-
tures both on their own and as a basis for creating
more distinctive textures.
For the Bat Creature, I built up my textures
mainly by hand, blocking in simple colors in Blender
and then refining these in GIMP, painting in extra
details and supplementing them with elements from
photographic textures, and then jumping back to
Blender to clear up seams.
For the Jungle Temple, I created a variety of
seamless textures, which formed a foundation
for creating further textures for unique objects.
By creating a range of tileable, reusable textures
first, I achieved consistent textures across multiple
elements in the scene and sped up the texturing
process.
For the Spider Bot, I focused on creating
relatively simple diffuse, specular, and rough-
ness textures that I will later use to create some
fairly complex materials. I used my ambient occlu-
sion map and the solid color map I generated in
Chapter 10 as a starting point and then created and
added decals to embellish the design of the Spider
Bot without crowding in too many details.
In Chapter 12, we'll create materials for use by
both Blender's Internal renderer and the new Cycles
renderer, using the textures created in this chapter
as inputs. We'll look at the different ways to apply
textures when working with the two renderers and
the similarities and differences in creating materials
with the two render engines in mind.