{"id":1211,"date":"2026-05-21T11:16:59","date_gmt":"2026-05-21T11:16:59","guid":{"rendered":"https:\/\/sites.wsagames.com\/jb19g23\/?p=1211"},"modified":"2026-05-21T11:18:12","modified_gmt":"2026-05-21T11:18:12","slug":"texturing","status":"publish","type":"post","link":"https:\/\/sites.wsagames.com\/jb19g23\/2026\/05\/21\/texturing\/","title":{"rendered":"Texturing"},"content":{"rendered":"\n
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To create the visual assets for the game, I used both Autodesk Maya and Krita as part of my workflow. This combination allowed me to go from basic 3D models to fully textured assets that could be used directly in the game engine, while also giving me control over both the structure and the visual style of each object.<\/p>\n\n\n\n

The process began in Maya, where I would either model an object from scratch or import a base mesh depending on the asset I was creating. Once the model was complete, the next step was to prepare it for texturing by unwrapping its UVs. UV mapping was a key part of the workflow, as it determines how a 2D texture is wrapped around a 3D object. In Maya, I used UV cutting tools to mark seams in logical places on the model, such as along edges or hidden areas where seams would be less noticeable. After placing the seams, I unfolded the UVs and adjusted them to reduce stretching and ensure that the texture space was being used efficiently.<\/p>\n\n\n\n

A big part of this stage was making sure the UV layout was clean and organised. I spent time scaling and arranging UV islands so that important parts of the model had enough resolution and detail, while also making sure nothing overlapped or distorted. This step was important because a poorly laid-out UV map can lead to stretched or blurry textures once they are applied in-engine.<\/p>\n\n\n\n

Once the UVs were properly set up, I exported the UV layout from Maya as an image and brought it into Krita. This allowed me to use the UV map as a guide while painting textures directly onto the model. In Krita, I created different layers for base colours, shadows, highlights, and surface detail. Working in layers gave me more control and made it easier to adjust parts of the texture without affecting the entire image.<\/p>\n\n\n\n

When painting the textures, I focused on keeping a consistent art style that matched the tone of the game. I used a slightly stylised approach rather than aiming for realism, which helped the models feel more cohesive within the game world. I also made use of brushes and soft shading to give the objects more depth, especially for environmental props where subtle lighting details helped them feel less flat.<\/p>\n\n\n\n

After finishing the texture in Krita, I exported it and applied it back onto the model in Maya to check how it looked in 3D space. This was an important part of the workflow, as sometimes textures that looked correct in 2D would appear stretched or misaligned once wrapped onto the model. If issues appeared, I would go back into Maya, adjust the UVs, and reapply the texture until it looked correct.<\/p>\n\n\n\n

This back-and-forth process between Maya and Krita helped ensure that each asset was both visually consistent and technically sound. Over time, it became a very efficient workflow that allowed me to quickly move from modelling to final textured assets while maintaining a clear and controlled art style throughout the project.<\/p>\n\n\n\n

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When creating textures for game assets, the choice of software has a big impact on both workflow and final quality. In my project, I used Krita, but I also considered how a more industry-standard tool like Adobe Substance 3D Painter would have changed my approach. Both tools can produce high-quality results, but they differ significantly in workflow, efficiency, and the level of control they offer.<\/p>\n\n\n\n

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One of the main advantages of using Krita is its simplicity and flexibility. Krita is a 2D painting program, which means it gives you complete freedom to design textures from scratch using layers, brushes, and custom painting techniques. This worked well for my project because I was aiming for a slightly stylised visual style rather than highly realistic materials. It also allowed me to directly paint over UV layouts exported from Maya, which made the process straightforward and easy to understand. Another benefit is that Krita is free and lightweight, making it accessible and easy to integrate into a student workflow without requiring high-end hardware or a subscription.<\/p>\n\n\n\n

However, Krita also has limitations when compared to more advanced 3D texturing tools. Because it is a 2D application, it lacks real-time feedback on how textures behave across a 3D model. This meant I often had to export textures, apply them in Autodesk Maya or my game engine, and then return to Krita to make adjustments. This back-and-forth process could be time-consuming, especially when trying to fix stretching or alignment issues on complex models. It also requires more manual work when it comes to creating effects like wear, roughness variation, or realistic surface detail.<\/p>\n\n\n\n

In contrast, Adobe Substance 3D Painter is designed specifically for 3D texturing and offers a much more integrated workflow. One of its biggest strengths is real-time painting directly on the 3D model, which means you can immediately see how textures wrap around the surface without constantly exporting and reapplying them. It also uses a physically based rendering (PBR) workflow, allowing artists to control materials such as metalness, roughness, and height maps in a very intuitive way. This makes it especially powerful for creating realistic assets and consistent material behaviour across different lighting conditions.<\/p>\n\n\n\n

Another major advantage of Substance Painter is its use of smart materials and masks, which can automatically generate effects like edge wear, dirt buildup, or surface variation based on the model\u2019s geometry. This can significantly speed up production time and improve visual quality, especially in larger or more detailed projects. It is widely used in the industry, meaning skills developed in the software are directly transferable to professional environments.<\/p>\n\n\n\n

However, Substance Painter also has drawbacks, particularly for smaller or stylised projects. It can be resource-heavy and requires more powerful hardware to run smoothly. It also has a steeper learning curve compared to Krita, and its subscription cost can be a barrier for students or indie developers. In addition, for simpler stylised textures, some of its advanced features may be unnecessary and add complexity rather than value.<\/p>\n\n\n\n

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Overall, Krita was a strong choice for my project because it matched the stylised art direction and allowed for a more direct, hands-on painting process. However, Substance Painter would have offered a more efficient and technically advanced workflow, particularly for achieving realistic materials and faster iteration on 3D assets. The comparison highlights an important design decision in game development: choosing tools not just based on power, but based on the style, scope, and needs of the project.<\/p>\n\n\n\n

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To create the visual assets for the game, I used both Autodesk Maya and Krita as part of my workflow. This combination allowed me to go from basic 3D models to fully textured assets that could be used directly in the game engine, while also giving me control over both the structure and the visual […]<\/p>\n","protected":false},"author":5,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[44,37],"tags":[],"class_list":["post-1211","post","type-post","status-publish","format-standard","hentry","category-semester-2","category-year-3-25-26"],"_links":{"self":[{"href":"https:\/\/sites.wsagames.com\/jb19g23\/wp-json\/wp\/v2\/posts\/1211","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.wsagames.com\/jb19g23\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.wsagames.com\/jb19g23\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.wsagames.com\/jb19g23\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.wsagames.com\/jb19g23\/wp-json\/wp\/v2\/comments?post=1211"}],"version-history":[{"count":3,"href":"https:\/\/sites.wsagames.com\/jb19g23\/wp-json\/wp\/v2\/posts\/1211\/revisions"}],"predecessor-version":[{"id":1224,"href":"https:\/\/sites.wsagames.com\/jb19g23\/wp-json\/wp\/v2\/posts\/1211\/revisions\/1224"}],"wp:attachment":[{"href":"https:\/\/sites.wsagames.com\/jb19g23\/wp-json\/wp\/v2\/media?parent=1211"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.wsagames.com\/jb19g23\/wp-json\/wp\/v2\/categories?post=1211"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.wsagames.com\/jb19g23\/wp-json\/wp\/v2\/tags?post=1211"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}