As I have delved further and further into the world of modelling one skill that I have continuously wanted to improve upon was texturing. To be able to not only create a model but bring it to life with colors, textures and imperfections that make models feel real. As such I have taken up interest in the Texture Artist entry level position.
Before delving into the specific role of the texture artist it should be first addressed that, as supported by ScreenSkills and my own friends in the VFX industry, that in smaller companies there is often no distinction between a Texture Artist and Modelling Artist. Due to their smaller sizes people often must work multiple roles and as such these roles are often combined into one. However for the sake of this article I will research it as much as a distinct job.
A Texture Artist’s primary role is to, either through creating it themselves or through stock assets, texture models provided to them by the Modelling Artist. This is assuming that these roles are distinct. The Texture Artist’s goal is making whatever object they are texturing is to be as realistic as possible in some cases, according to ScreenSkills, and in others to be stylized to function within the piece they are working on.
Primarily texture artists will work in Graphics Software such as Photoshop and Dreamweaver for creating textures from scratch. Often, they will have piles of stock images of objects with the textures they want to use as reference for any textures they create. They also make use of 3D modelling software such as Zbrush, Blender and Maya. They will use these software to edit the models provided to them to texture them, either via bump mapping, textures or directly onto the model like adding individuals scales on an alligator physically into the model.
Texture Artists need to be skilled in the fundamentals of art and photography to understand color, texture and lighting and how all these elements are affected by the lighting of a scene and the camera employed by the film.
Sally Wilson, the lead Texture Artist on STAR WARS: The Last Jedi, supports this as in the following video:
she peaks about how to properly texture any asset they are assigned. They must have a good understanding of the materials themselves, as a something metal will function with light far differently than flesh. The material itself will also have different kinds of imperfections than others, again referring to flesh this may be things like dimples where as metal will have scratches. All of these things will change how light interacts with the subject.
I want to learn how to texture and in pursuit of what, very likely, would end up as a generalist position it would important for me to learn and understand the skill sets required to texture properly. This research has helped me understand where I can begin to develop my skills as a Texture Artist and pursue it in my own work here at the university.