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Laying out the UV coordinates


Game Prop Creation in 3ds Max

with Adam Crespi

Video: Laying out the UV coordinates

Laying out the UV coordinates provides you with in-depth training on 3D + Animation. Taught by Adam Crespi as part of the Game Prop Creation in 3ds Max
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  1. 3m 41s
    1. Welcome
      1m 0s
    2. What you should know before watching this course
    3. Using the exercise files
      2m 22s
  2. 26m 8s
    1. Overview of modeling a large prop
    2. Laying out the overall form and planning for modular textures and models
      4m 49s
    3. Adding the framing components
      4m 56s
    4. Adding the side panels
      2m 33s
    5. Unwrapping the sides
      2m 10s
    6. Unwrapping one corner box
      2m 25s
    7. Unwrapping one of each frame member
      2m 48s
    8. Laying out the UV coordinates
      5m 35s
  3. 53m 2s
    1. Overview of the texturing process
      1m 9s
    2. Creating a bump map for the corrugated sides
      5m 20s
    3. Adding more details to the bump map
      3m 23s
    4. Drawing the bump map for the door
      3m 33s
    5. Adding details to the doors
      2m 55s
    6. Painting the diffuse texture: planning the layers
      1m 47s
    7. Painting the base coat and logo
      2m 3s
    8. Adding tracking labels and other markings
      3m 9s
    9. Adding soft rust
      3m 57s
    10. Adding rust bubbles
      3m 46s
    11. Setting up a library of shipping container textures
      4m 2s
    12. Painting dirt and rust variations
      4m 43s
    13. Transferring wear from the diffuse texture to the bump map
      2m 43s
    14. Converting bump maps to normal maps
      4m 37s
    15. Testing the maps
      5m 55s
  4. 1h 3m
    1. Overview of modeling small props
      1m 1s
    2. Modeling a sledgehammer
      2m 52s
    3. Adding detail and smoothing groups
      4m 42s
    4. Unwrapping as part of a texture sheet
      4m 56s
    5. Modeling a ladder
      5m 6s
    6. Adding detail and smoothing groups
      3m 10s
    7. Unwrapping for the ladder
      5m 47s
    8. Placing the clean texture
      5m 51s
    9. Laying out a texture sheet for multiple tools
      4m 51s
    10. Painting galvanized steel
      6m 59s
    11. Adding dirt and wear
      6m 48s
    12. Planning for optimal texture usage
      2m 48s
    13. Painting dirt and age variations
      8m 34s
  5. 1h 9m
    1. Modeling furniture using simple parts and reusable textures
      1m 18s
    2. Planning and analyzing the modeling of a chair
      1m 46s
    3. Blocking out the basic form
      5m 27s
    4. Adding detail and smoothing groups
      4m 58s
    5. Refining the silhouette
      3m 31s
    6. Unwrapping for the chair
      7m 53s
    7. Painting the fabric
      6m 26s
    8. Making a normal map for the fabric
      4m 43s
    9. Planning the modeling of a table
      2m 7s
    10. Blocking out the basic table form
      5m 34s
    11. Adding legs and skirt boards to the table
      7m 9s
    12. Breaking up the model for texturing
      6m 21s
    13. Laying out the wood texture
      5m 49s
    14. Reusing parts to make a round table
      6m 23s
  6. 28m 5s
    1. Understanding the importance of painting textures from scratch
      1m 23s
    2. Creating the initial grain lines
      1m 31s
    3. Adding value variation across the grain
      4m 16s
    4. Warping and curving the grain
      2m 32s
    5. Adding knots
      3m 2s
    6. Colorizing the grain and planning for stains
      5m 10s
    7. Cutting out boards for a UV layout
      4m 22s
    8. Adding patina and wear to a final texture
      5m 49s
  7. 37m 28s
    1. Understanding the importance of a low poly count
      1m 12s
    2. Overview of normal maps
      1m 45s
    3. Modeling a high-poly work for projection
      4m 8s
    4. Overview of the pipeline
      2m 41s
    5. Planning edge flow for elegant modeling
      4m 29s
    6. Smoothing groups
      2m 50s
    7. Adding details by beveling and extruding
      4m 28s
    8. Adding hinges
      5m 42s
    9. Using Push/Pull and Soft Selection to add dents
      3m 34s
    10. Baking the high-poly mesh onto the low-poly model to produce a normal map
      6m 39s
  8. 36m 4s
    1. Overview of Mudbox
    2. Preparing for a smooth export to Mudbox
      3m 16s
    3. Importing from Mudbox: choosing the right resolution
      4m 26s
    4. Using the sculpt tools in Mudbox
      4m 3s
    5. Painting in Mudbox
      5m 34s
    6. Exporting paint layers from Mudbox
      3m 1s
    7. Extracting and exporting a normal map from Mudbox
      5m 44s
    8. Projecting normal maps from a Mudbox model
      5m 53s
    9. Importing and assigning objects and maps in Unity
      3m 9s
  9. 25m 59s
    1. Overview of ambient occlusion and specularity
    2. Setting up ambient occlusion as a texture
      5m 14s
    3. Using ambient occlusion as a foundation for rust and dirt
      4m 36s
    4. Using ambient occlusion to add detail to textures
      4m 26s
    5. Painting a specular map
      6m 36s
    6. Streamlining the import process: placing maps in the right channels
      4m 27s
  10. 21m 7s
    1. Overview of importing into Unity
    2. Preparing and exporting large props to Unity
      3m 3s
    3. Creating a new project in Unity and importing textures
      5m 21s
    4. Cloning props in Unity with different looks
      3m 41s
    5. Adding lights to test smoothing and textures
      3m 52s
    6. Refining materials
      4m 37s
  11. 1m 0s
    1. Final thoughts
      1m 0s

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Laying out the UV coordinates
Video Duration: 5m 35s6h 5m Intermediate Jun 21, 2012

Viewers: in countries Watching now:

Laying out the UV coordinates provides you with in-depth training on 3D + Animation. Taught by Adam Crespi as part of the Game Prop Creation in 3ds Max

View Course Description

Explore the world of modeling and texturing game props and assets in Autodesk 3ds Max. Author Adam Crespi demonstrates how to create both small and large props, from tools to shipping containers. The course begins with cloning and instancing objects for ease of modeling and unwrapping, and segues into multiple methods of unwrapping and painting texture by hand in Adobe Photoshop. Adam looks at various plug-ins that assist with normal map generation as well as sculpting in Mudbox, a digital sculpting application that can add realism and detail to your models. Finally, the course shows how to add lights to a scene and preview the objects in-game.

Note: A familiarity of basic modeling and unwrapping techniques in 3ds Max and a working knowledge of Photoshop will help you get the most out of this course.

Topics include:
  • Laying out the overall form
  • Planning for modular textures and models
  • Adding the framing components
  • Laying out the UV coordinates
  • Creating bump maps
  • Painting diffuse textures
  • Setting up a library of textures
  • Converting bump maps to normal maps
  • Testing maps
  • Laying out a texture sheet for multiple tools
  • Using a high poly to low poly workflow
  • Baking out normals and ambient occlusion for rusty and dirty surfaces
  • Modeling furniture
3D + Animation
3ds Max Unity 3D Mudbox
Adam Crespi

Laying out the UV coordinates

I've modeled and unwrapped the separate elements of my shipping container, and now I'm going to bring them together as one object for texture painting and import. First, I'm going to pick one of my elements, and really anyone will work. Right now this is a box with an Edit Poly and an Unwrap UVW modifier onto it. I'll right-click and convert this to a Poly. The texture coordinates, or the UVs, are now baked into this. So I'm going to right-click and attach it to the other objects. Once you've unwrapped an object those texture coordinates are applied.

You can collapse it or attach it to things, or whatever you need, and those UVs are still there until you change them. I'll attach by using the dialog here, and picking the other objects in the list, picking the top holding Shift and picking the bottom. This attaches all my objects together, although it shows as just an editable poly. When I put it an unwrap UVW modifier on, I can see cleanly in the Editor there is all of my shells. Now I'm going to arrange them. I'll turn off the checkers and start to move some things around.

Notice I'm scrolling back and panning over, so I have some additional real estate here to play with. What I'd like to do first is turn on the Select By Element Toggle and start to grab all the stacked elements I've made and pull them out of the way. I want to get a clear picture of what's going on. There is my long sides and here's my short sides and tops, and I'll leave that side where it is, and now I've got my elements pretty nicely stacked. Over here on the left side I have my top frames and vertical posts. On the bottom, those are all of my long frames, and this giant plus; those are actually the small corner boxes.

When I'm getting UVs in, what matters is that I'm utilizing this zero to one space as effectively as possible. If you're loading an image in that is 1024 pixels on a side, whether or not you're using those pixels in the texture, you are still loading them into RAM. Memory is crucial in games and so we have to optimize our UV layouts. This is pretty good so far. These elements, my sides, top and bottom and door end and flat end, are about as big as I can get them.

I may want to use the Freeform Mode and scale them just a little bit, to see if I get them any bigger. I'll hold Ctrl while I scale, to make sure that I don't distort my elements I've so carefully unwrapped, and then start to pick the pieces, and see if I can slide them a little closer to each other. This is also a good place to make sure in the Move tool, you constrain down to one axis, that way when painting a texture, you can slide things vertically in Photoshop or horizontally and not the off alignment. I'll pull these in and put them as close as I can.

I want to make sure that my edges don't touch, that is, I don't have overlapping UVs where they shouldn't be overlapping, and also that the UVs are not touching the edges of that zero to one space. Now I'll start to bring in my other pieces. First, I'll take my longest elements which are my long sides here, I'll rotate them 90 degrees and I'll move them into the right place. I'll switch my Move tool back over to two directions, and I'll pull them in and stack them as well as I can. It looks like I need to scale these down just a little bit, don't be afraid to really zoom in and see where you need to go.

I need to come off that edge just a bit. So I'll scale these, holding Ctrl again to maintain proportion, zoom out to check, and pull them into position. That's pretty good. What I'm planning on is, in the overlapping of these elements, I'm going to paint general grunge and rust along the length of it. These will simply share across all the elements and I'm banking on not being able to see all four long frame pieces at once, as part of my reasoning in simply stacking those UVs.

Now I'll put in the other pieces. Again, selecting all the short frame elements, pulling them over into the best space possible, scaling down while holding Ctrl and moving them off my sides here. This may take a little time to do, but it's working pretty nicely, and I've got a place here where I'm using my texture space fairly decently. I don't have much more I can really scale. Lastly, I'll look at my corner boxes. I'll take them, pull them over and rotate them.

How you rotate these is up to you. I don't mind that it's actually upside down here, because really what I care about is that, this is rusty and that is probably as well. I can paint this scene to match, so as long as I can see it, I can paint to it. I'll pull these into place, scale them down, and my UVs are ready for texture. With my corner pieces in place I can see I've got a little space left over. I do have the option here of taking one of those corner elements and pulling it off the others.

That way I can paint separate textures for those to add a little more variety. It's always good to look for places where there are repetitive elements where you may want the texture to vary. As an alternate, if the bottoms are more rusted than the tops, I may want to pull the bottom corner elements off. Looking at the selection here in the Editor and looking over in the view to see what's selected. I can space these out, use up the rest of this space, and again I'm ready for painting, maximizing my UV layout. I'll right-click, choose Top-level and I'm ready to export out or render that UVW template.

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