In order to paint anything with a professional grade digital graphics application you need to understand and know how to use the different features available.
Personal Experience: Although rendering with computers has some similarities with traditional physical mediums, in more ways than can be covered here, they offer significant advantages. There are many things that computers can do that will be impossible or extremely difficult to attempt using traditional mediums. When I first started texturing trains I used the Windows Paint program which offers very limited functions. I then acquired a copy of Micrografx Picture Publisher 8.0 which offered many features that can be found in professional graphic packages. Personally, despite having a traditional art and technical art background, I found the learning curve extremely steep. Whatever the limitations of Picture Publisher it did, however, give me a firm grasp of what was possible with computer rendering techniques. Eventually, I acquired a copy of Adobe Photoshop 7.0. The features offered by this package opened up a completely new horizon with its more advanced features, tools and superb filters. Nowadays I use Photoshop exclusively (since I have to use it for commercial projects) but most of my work for MSTS was originally rendered in Picture Publisher. The renderings for this project were done in Picture Publisher 8.0. This application is, in my opinion, superior to the other popular graphics application used by many MSTS texturers - Paint Shop Pro 7.0 from Jasc.
| The Digital Paint Box | |
|---|---|
| Masks: | As the name implies you can mask out areas on a digital canvas so that they can be edited seperately from the rest of the texture map (or in some instances to protect an area from being affected by editing being done in an adjacent area). If you are familiar with using airbrushes on HO models you will have no problems understanding the concept. |
| Layers: | Layers (called objects in Picture Publisher) are electronic "overlays" - similar to cells in animation or tracings in traditional drawings. They allow selected areas to be completely isolated from the background on a coordinated "layer". This allows the user the freedom to manipulate indivdual parts of the texture without effecting the entire texture map. Used correctly, layers are an extremely powerful and necessary part of the texturing process (and almost mandatory if you are using Photoshop). |
| Transparency: | With a good graphics application, almost anything can have a degree of transparency. This allows an unprecedented level of freedom to digital artist to achieve effects almost impossible using traditional methods. Layers can be semi-transparent, as can drawn lines. These offer the train texturer easy to use tools to achieve realistic effects very quickly. |
| Drawing Tools: | Pencil tools, paintbrushes and airbrushes are all a part of the digital paintbox. The first time I used a graphic application and trying to draw with a mouse was like trying to paint on a canvas with mud ... it was a horrible experience and I nearly gave it up. However, I did rather fancy seeing my very own customized locomotive running in MSTS and so I kept at it and persistence paid off. Although tablets and digital pens are available and some people swear by them, my economy no brand optical mouse has seen me well through even the toughest texturing jobs. Drawing with computers is a skill, but if you are really serious about painting 3D model trains, it is worthwhile investing in quality equipment. At the very least, get the a good quality mouse. |
| Gradient Tools: | If you have ever done color washes using water colors, you will know how useful this tool is. Picture Publisher has this tool in two forms. A graduated fill that blends one color into another and a graduated fill that blends a selected color with whatever lies underneath the area being worked. Both are indispensible. |
| Color Controls: | Being able to control the tone, contrast, hue, saturation levels, greyscale and almost any property associated with color is a godsend. For someone repainting an MSTS model, these are powerful additions to their suite of already extensive tools. Learning to control colors will allow almost any color or finish to be represented on a digital canvas. |
Although everyone has the same tools to work with, as with pencils in my Art Class at college, no two people will use the same tools in exactly the same way. In this tutorial I describe techniques that work for me. In due course you will develop your own. Do not be afraid to experiment and try different things. Unlike physical renderings, digital rendering does afford you the option of making backups so mistakes do not need to be disasters ...
Copyrights © 2004-2007, Sean Lim. All Rights Reserved. Hosted courtesy of steam4me with permission.