---
title: "Toy Car Texturing"
canonical: "https://rmanwiki-27.pixar.com/space/RU/654573608/Toy%20Car%20Texturing"
format: markdown
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### Texturing and UVs

The most important aspect of the UV layout for me was maintaining consistent texel density and ensuring clean transitions between surfaces. I organized the UDIMs based on four primary surface types, which helped simplify the masking and cleanup phases later on.

I packed the UV islands with minimal fragmentation, making sure each area had enough texture space. This approach proved very efficient, both for preserving resolution and reducing visual clutter while painting in Mari. It allowed me to keep the scene lightweight while still achieving sufficient detail in both close-up shots and expansive views.


![image6.jpg](media://3603d3e0-8969-4c6a-bb3e-513e6a680128)

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### Texturing

I used Mari for the texturing process and really enjoyed the workflow, especially the flexibility of its node-based structure, which helped me keep everything clean and organized. Since I used the Physical Specular mode in the PxrSurface material, I prepared my texture structure accordingly. 

I began by projecting the base color data onto the model, captured using cross-polarization techniques. By applying polarizing filters to both the camera and the light source, I was able to eliminate surface reflections, allowing for more accurate color and cleaner mask extraction.

After projection, I performed extensive cleanup using the Clone Tool to correct imperfections and surface inconsistencies. In areas where no scan data was available, I created the textures myself to preserve the material continuity. 

To isolate material regions, I relied on the Color to Mask method, which allowed me to generate precise masks directly from the base color information. This enabled a layered approach, where I built up surface detail such as chipped paint, dirt, filler material, and subtle wear.

> Macro (widget)


> 📝 Tip: Throughout the project, I used ACES 1.2 as the color management system by defining OCIO environment variables. This helped maintain accurate and consistent color across Mari, RenderMan, and every other stage of the production workflow.

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### Shading