# Texturing: False Geometry

This tutorial is going to cover texturing. Specifically making your textures look like they have more polygons than they do, and emphasising the polygons that you do have. To make this easier on myself, I am tackling something small, a samurai armour shoulder pad. Here is my geometry. It is made out of 24 triangles. Very low polygon. However, it should look much more complicated to be visually interesting. So in the texture it will have false geometry by implying it with light. I suggest you read my Texturing Theory Paper before reading this tutorial. It can be found here.
This tutorial is meant as an example and a follow up to the paper. It is not a How to, it is a detailed explanation of the theories presented in my earlier paper. That is why I do not go into each step and every stage or tool I used.

## Base geometry

First, visualise what this fake geometry looks like. For each thing you make, it will be different, so do not use this as a step-by-step, but as a guide to a process. Now since I cannot give you a glance into my head (you would not want to anyway) I modelled the geometry in mind. The armour is made of overlapping plates, with cords tying them together. It has a rounded top, and will probably have a design on it somewhere. Already this looks more interesting than the above simple model. Now personally, I prefer painting all in colour. One of my favourite artists is Van Gogh, because of his colour work. Because of this, I never ever work in greyscale. There are too many colour interactions that cannot be had any other way but to get them the first time through. Sometimes it works to hue shift or change the colours later, but those nice colour interactions normally survive these changes. So as the volume is being layed out in the texture, it will be in Colour. If you like working in greyscale, then by all means, follow along in greyscale.

## Imaginary geometry

This is something from Harvy Brown's book Secrets every artist should know. Show the typical way a beginner paints textures, and then point out the things that can make it a lot better. I learned particularly well from watching him emphasise his points with a "before" and "after" rather than just look at his nice finished work.
So here is a texture that describes the above geometry at a bare minimum. Black lines are used like a colouring book to denote changes in surface and material. All colours are equal in saturation and value as well. We can sort of tell what it is, but it would not work in a realistic style game. So what all can be done to improve it? Well to start, let's add some real lighting. This is going to be the first pass and will describe the medium scale detail.

## Beginners Mistake

Gone are the black outlines. If you ever take an art class, you will probably hear your teachers say, there are no lines in the real world, only edges. So gone are the black outlines, and now there are clear edges have light and dark. The red was rounded on the top from being a box, to being a cylinder. Using a lighter, less saturated more orange red for the light planes, and a darker, less yellow, more saturated colour for the shadow planes. For this example the light source is from above and slightly forward, so takes all of the surfaces that face upwards, and paint them as if the light is falling on the high res. imaginary geometry. Compare the lighting in this image to the one of the high res. geometry. It is round and smooth on the top like the high res. version, not blocky like the low. Then on the slats, gone again are the black lines, and now there are edges of shadow where they overlap, and highlighted edges of the plane where it sticks furthest out. This recesses the top, and shoves the bottom of each slat out.

## Small scale detail

Now this is an important step. The overlay stage. Using either photo, a new layer you create using textured brushes, or filters, you create the "texture" or grit of the material. Before this stage, we could tell the volume of the different planes, but not the material it was made out of. Only the lighting was in. Now use a leather overlay, and a wood overlay to help describe the different materials. The problem is that everything now looks like it has volume, and we can tell what it is made out of, but there is something else that it needs. Specular. The specular intensity and its fall off, describe the surface just as much, if not more, than the overlay layers. A harsh, sharp specular will read as metal, while a broad diffuse specular will read as plastic or skin. The colour of the specular can influence what material it reads as, as well.

## Overlays for Grit

By adding a slightly scattered specular to the leather, it implies the glossiness, and the ridged texture. By adding specular to the metal grommets, and an extra set on the top you can clearly tell their metallic nature. The specular correlates to the light direction and further helps describe the materials. This could technically be considered done. There are a few steps however, that can dramatically improve the quality. The first is a more dynamic design.