在本教程的这一部分中，我们将介绍如何使用MARI来构建科幻飞艇模型。
In this section of the tutorial, we'll be looking at how to texture a sci-fi airship model using MARI.
Step 01: Overview of the MARI workspace
Before we begin, here's a brief overview of the MARI workspace. You can click between the 3D painting view under the Ortho tab, and flat UV mode under UV tab depending on the need. If you cannot remember a button function, just let your cursor hover over the button for a few seconds and it will reveal its purpose in a small pop-up tab. In the top-left is the save button - remember to save often. Now let's get texturing!
步骤01：MARI工作区概述
在我们开始之前，这里简要介绍一下MARI工作区。 您可以在Ortho选项卡下的3D绘画视图和UV选项卡下的平面UV模式之间进行单击，具体取决于需要。 如果您不记得按钮功能，只需将鼠标悬停在按钮上几秒钟，它将在一个小的弹出式选项卡中显示其目的。 在左上角是保存按钮 - 记住要经常保存。 现在让我们得到纹理！
Step 02: Ambient occlusion
After importing the geometry, the first step for texturing our airship is generating ambient occlusion (AO). Select all of the mesh, and under the Objects menu, select Ambient Occlusion. Then under your Procedural tab in the main shader, select Geometry and then Ambient Occlusion.
The AO may have hard edges which can be smoothened using the Blur tool. First right-click on your AO procedural layer, then 'Convert to Paintable' and use the Blur tool to soften any edges that are jagged. Be sure to save your project as you go.
步骤02：环境遮挡
导入几何图形后，我们的飞艇纹理化的第一步就是产生环境遮挡（AO）。 选择所有网格，并在对象菜单下选择环境遮挡。 然后在主着色器的“过程”选项卡下，选择几何，然后选择环境遮挡。
AO可能有硬边缘，可以使用模糊工具进行平滑处理。 首先右键单击您的AO程序层，然后单击“转换为可绘制”，然后使用模糊工具软化任何锯齿状边。 一定要随时保存项目。
Step 03: Texturing crevices
Now the AO is complete we need to go over the ship with the Brush tool. By pressing the 'K' key, you can access the brush sets. I find the Velvet Touch brush (under Organic Brushes) is good for soft organic build-up. To reduce the brush size, press the 'R' key and left-click, then push up and down or left and right according to the size and fall-off. For the brush opacity, press the 'O' key and left-click, and slide left and right. Use these tools to softly build up darkness in all the crevices on the ship.
步骤03：纹理缝隙
现在AO完成后，我们需要用Brush工具来搭载船。 通过按“K”键，您可以访问画笔集。 我发现天鹅绒触摸刷（在有机刷下）是有益于软的有机积累。 要减小笔刷尺寸，请按“R”键并左键单击，然后根据尺寸和脱落量向上和向下或向左或向右推。 对于画笔不透明度，按“O”键并左键单击，然后向左和向右滑动。 使用这些工具轻轻地建立船上所有裂缝的黑暗。
Step 04: Specular map
As we go we can create and add to our specular map. Firstly, under the Channel menu, create a new channel with the name 'Specular'.
Open this channel stack and drag it across to the left of the screen. Keeping this open, return to your Diffuse stack and duplicate our painted AO layer, then drag this layer across to the Specular stack. When you click the Specular shader again you will see what?s contained within it.
Next, to increase the specular difference between objects, create a layer within the Specular stack, fill the entire surface with black and reduce the layer opacity to 50%. Next we need to create a mask stack to this layer.
By painting on this layer with black or white paint, we can remove or add the black layer. Think of it as "the lighter it is, the more specular it is."
步骤04：镜面图
当我们走，我们可以创建并添加到我们的镜面地图。 首先，在“频道”菜单下，创建一个名为“镜面”的新频道。
打开该通道堆栈并将其拖动到屏幕的左侧。 保持打开，返回到您的漫反射堆叠并复制我们绘制的AO层，然后将此图层拖动到高光层。 当您再次单击“镜面”着色器时，您将看到其中包含的内容。
接下来，为了增加对象之间的镜面差异，请在镜面叠层内创建一个图层，用黑色填充整个表面，并将图层不透明度降低到50％。 接下来，我们需要为此层创建一个掩码栈。
通过在黑色或白色油漆上涂上这层，我们可以去除或添加黑色层。 认为它是“更轻，它更镜像”。
Step 05: Texturing bronze parts
Now let's bring some color into this ship. I have supplied all the textures used in this project in the downloads. Import the Bronze 2k texture with the image manager. Select individual components, create a new layer in our Diffuse channel and fill in the objects with the bronze texture.
步骤05：纹理青铜部分
现在让我们把一些颜色带入这艘船。 我已经在下载中提供了该项目中使用的所有纹理。 使用图像管理器导入青铜2k纹理。 选择单个组件，在我们的漫射通道中创建一个新图层，并填充具有青铜纹理的对象。
Step 06: Making a rivet texture
For our ship to look as if it's made of large steel plates, using a rivet or bolt texture along the seams will help to give the impression of material type and scale. Firstly, import the blue bold picture provided into Photoshop, and use the Select Color Range tool to select the blue parts. You can adjust the fuzziness to leave only the shadows from the bolts. Then right-click, Select Inverse and delete the blue.
Next we can desaturate the color and place a small gray disc behind where the bolts were to fill them back in. Creating a small gray disc is easily done by making a circular selection and filling it with mid-gray paint. Then export this as a PNG to retain the transparency.
步骤06：制作铆钉纹理
对于我们的船看起来好像是用大型钢板制成的，沿着接缝使用铆钉或螺栓纹理将有助于给出材料类型和尺寸的印象。 首先，将提供的蓝色粗体图像导入到Photoshop中，然后使用“选择颜色范围”工具选择蓝色部分。 您可以调整模糊性，只留下螺栓的阴影。 然后右键单击，选择反向并删除蓝色。
接下来，我们可以使颜色去饱和，并在其后面放置一个小灰色的盘片，螺栓将填充回来。创建一个小的灰色圆盘可以通过圆形选择轻松完成，并用中间灰色的油漆填充。 然后将其导出为PNG以保留透明度。
Step 07: Placing the rivet texture
Before we place the rivet texture created in Photoshop, we first need to apply the base metal texture. Import the ?Plain Metal' texture provided into the image manager, and on a new layer, use it to texture the main body of the ship. When this is complete, make another new layer and apply the rivet texture in such a way to create the effect of panels where you feel they fit best. You can adjust the size of a texture in the buffer window by holding Shift+Ctrl and left-clicking while dragging left to right. You can also change the color or tone of the texture being painted by changing the color in the swatch in the top menu.
步骤07：放置铆钉纹理
在我们放置在Photoshop中创建的铆钉纹理之前，我们首先需要应用基础金属纹理。 将图形管理器中提供的“普通金属”纹理导入到新层，使用它来纹理船的主体。 当这完成后，再创建一个新的层，并以这样的方式应用铆钉纹理来创建面板的效果，您觉得最适合您。 您可以通过按住Shift + Ctrl并左键单击从左向右拖动来调整缓冲区窗口中的纹理大小。 您还可以通过更改顶部菜单中色板中的颜色来更改要绘制的纹理的颜色或色调。
Step 08: Additional metals
To create a variation of metal types, I think we should apply a lighter type of metal to the sides and front of the body, as well as more bronze on some of the smaller details. We can achieve this using the plain metal material again, making another layer, then adding an adjustment stack to that layer and selecting HSV. When you select HSV a new window will open and you can use the V slider to brighten the value of the metal.
步骤08：附加金属
为了创造一种金属类型的变化，我认为我们应该在身体的两侧和前面应用一种较轻的金属，以及一些较小的细节上更多的青铜。 我们可以再次使用普通金属材料，再制作另一层，然后在该层上添加调整叠层并选择HSV。 当您选择HSV时，将打开一个新窗口，您可以使用V滑块来增亮金属的值。
Step 09: Detailing some more welds and bolts
To break up the plain areas a bit, and add some more detail to the ship in general, we can start to add some more bolt textures to the front of the ship and the fin. We can also start to apply some welded textures using the 'weld' texture provided. Make sure to apply these textures on separate layers so that we can blend them later if it is necessary to, or use them for some specular masking.
步骤09：详细说明一些焊缝和螺栓
为了平坦的区域打破一点，并在船上添加一些更多的细节，我们可以开始添加一些更多的螺栓纹理在船和鳍的前面。 我们还可以使用提供的“焊接”纹理开始应用一些焊接纹理。 确保将这些纹理应用在不同的图层上，以便稍后将它们进行混合，如果需要或将其用于某些镜面掩蔽。
Step 10: Texturing the engine
Now we need to start filling in some of these white parts on the engine. I've supplied a texture called 'old polished metal' in the texture downloads to use on the main part of the engine and for the propeller strut. For the piping we can apply the copper texture supplied. By applying textures in separate layers and using an adjustment stack we can tune the lightness or hue of metals to slightly differentiate them if desired.
步骤10：纹理化发动机
现在我们需要开始在引擎上填充这些白色零件。 我在纹理下载中提供了一个名为“旧抛光金属”的纹理，用于引擎的主要部分和螺旋桨支柱。 对于管道，我们可以应用提供的铜纹理。 通过在单独的层中应用纹理并使用调整堆栈，我们可以调整金属的亮度或色调，以便在需要时略微区分它们。
Step 11: Updating the specular map
Using the textures we have already painted from the diffuse channel, we can now duplicate them and drag them across into the specular channel stack. Then we need to apply an adjustment stack and desaturate the color, then depending on what the material is we can change its opacity to be darker or lighter in the specular channel. By using an adjustment stack on each layer, we can darken or lighten parts using the HSV value slider. Remember: the whiter, the shinier.
步骤11：更新地图镜面
使用我们已经从漫道画的纹理，我们现在可以复制和横向拖动到镜面通道堆栈。然后，我们需要申请调整堆栈和饱和度的颜色，然后根据是什么材料，我们可以改变。其不透明度是在镜面通道较暗或较亮通过使用每个层上的调整堆栈，我们可以变暗或变亮使用HSV值滑块记住:.越白，在光亮部分。
Step 12: Painting the windows
Using the provided texture 'dull window', we can now start to fill in those windows. After importing the texture using the image manager we can fill in the window panes. If the texture looks a bit too dull or dark, we can boost the lightness by using an adjustment stack on the layer with the window texture.
步骤12：绘画的窗户
使用所提供的质感“平淡窗口”，我们可以如果纹理看起来有点太沉闷或暗现在就开始填写这些窗口。使用图像管理器，我们可以在窗玻璃填写进口纹理之后，我们就可以提振通过使用与窗口纹理层上的调整堆栈亮度。
Step 13: Wooden texturing
In keeping with the vintage theme and in the interest of variety of texture and materials, we can paint a nice section of wood paneling on the nose section. Using the wood texture, first paint the front's side panels, before moving or baking the texture. Select the Spline Warper tool on the top and drag a rectangle around the shape. Using the frame that appears, drag the texture to fit the general shape of the nose by pushing and pulling on the frame edges. Then hit 'B' to bake the texture in place.
步骤13：木质纹理
在与复古主题，在各种质地和材料的利益保持一致，我们可以在机头部分油漆的木镶板的一个很好的部分，使用木质纹理，第一油漆前的侧面板，移动或烘焙纹理之前。选择顶部的样条整经机工具和拖动矩形周围的形状。使用时出现的帧中，将纹理通过推拉在框架边缘以适合鼻子的一般形状，然后按下“B”烘烤质感到位。
Step 14: The propeller and side engine
Using the texture 'round metal', we can paint the propellers now. As this texture is very brown, I will use an adjustment stack to desaturate it to be almost gray, and darken it just a little as well. Next, for the side engine section, we can paint the inside of it using the 'mesh' texture. At this point we may fill in the rest of the side engine using the 'plain metal' texture. We can update our specular map with these textures as before.
步骤14：螺旋桨和发动机侧
使用质地“圆形金属”，我们可以画出螺旋桨现在，以该质地非常棕色，我会用一个调整栈去色是几乎灰色，变暗它只是一点点为好。接下来，供方引擎部分，我们可以描绘出它使用“网格”纹理内。在这一点上，我们可以使用“纯金属”质感一侧引擎的其余部分继续进行。我们可以像以前一样更新我们的高光贴图与这些纹理。
Step 15: Adding dirt and grime
As a finishing touch it's always good to add some wear and tear to a vehicle like this. First make a new layer using the grime textures provided, and go around the ship and paint the leak stains and dirt build-up in places where you would expect to find it. The key to this is not to overdo the dirt unless that is the look you are going for.
第15步：添加灰尘和污垢
作为点睛之笔，它总是好一些磨损增加这样的车辆，首先使用所提供的污垢纹理新建一个图层，到处去船和油漆泄漏渍和污垢积聚在地方，你会希望找到它。这里的关键是不要过分的污垢，除非是你要的样子。
Step 16: Adding dirt to the specular channel
Before merging our diffuse textures we must first duplicate and drag our dirt and grime textures into the specular channel. We want these textures to be dull and non-reflective, so we must apply an adjustment stack and by using the HSV adjustment we can reduce the value until the grime texture is almost black. At this point it's safe to select all of the layers and export them to your desktop. I would recommend renaming them.
步骤16：添加污垢镜面通道
将我们的漫反射贴图之前，我们必须先复制并拖动我们的灰尘和污垢纹理进入镜面通道。我们希望这些纹理的迟钝和不反光的，所以我们必须采用调整堆栈，并通过使用HSV调整就可以减少值，直至污垢质地几乎是黑色的。在这一点上是安全的选择所有的图层，并将其导出到您的桌面。我将建议重命名它们。
Step 17: Making normal maps
We can make our normal maps by using the diffuse textures. First we need to create a new channel for the normal map, then duplicate the diffuse textures and drag them into the normal channel. As the diffuse textures are all separate, we will need to select them all and merge them into one. Then by adding an adjustment stack and selecting 'Height to Normal', we can right-click and export this layer to the desktop and rename it accordingly. Now the texturing is done and the model is ready for rendering.
第17步：制作法线贴图
我们可以通过使用漫射纹理使我们的法线贴图。首先，我们需要法线贴图创建一个新的渠道，然后复制漫反射贴图，并将其拖动到正常的渠道。由于弥漫纹理都是独立的，我们需要它们全部选中，并通过添加调整堆栈，然后选择“身高为普通”它们合并成一个。然后，我们可以右击该层导出到桌面，并相应地重新命名它。现在，纹理等做模型已准备就绪进行渲染。
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