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Unwrapping as part of a texture sheet

From: Game Prop Creation in 3ds Max

Video: Unwrapping as part of a texture sheet

In this video, I'll take the hammer that I've modeled and unwrap it. I'm going to use this as part of a texture sheet, so at least I'll get the objects flattened out and the proportion correct first. Then I'll go in later and position it once I have my other objects unwrap. I'll start by unwrapping the handle. I've optimized this a little bit, taking out the top polygons, and making sure that the handle looks good especially from the bottom and it doesn't show as terribly faceted unless we get fairly close. I've also added some extra detail on the head, giving it a little bit of roundness so it shines nicely.

Unwrapping as part of a texture sheet

In this video, I'll take the hammer that I've modeled and unwrap it. I'm going to use this as part of a texture sheet, so at least I'll get the objects flattened out and the proportion correct first. Then I'll go in later and position it once I have my other objects unwrap. I'll start by unwrapping the handle. I've optimized this a little bit, taking out the top polygons, and making sure that the handle looks good especially from the bottom and it doesn't show as terribly faceted unless we get fairly close. I've also added some extra detail on the head, giving it a little bit of roundness so it shines nicely.

I'm figuring this is a tool we're going to pick up and use. So I need to see it fairly close. Now I'll start out by adding an Unwrap UVW Modifier on to the handle. Remember that we can unwrap multiple objects, combine them or attach them, and those UVs will still be there. I'll open up my Editor, and I'm going to work in two views here. We can see that the original UVs are messy and what this is reflective of is that it starts out with UVs and I've extruded and changed the geometry, which gives me spaghetti over here. I'll press 3 to switch over to Face, and I'll select all the faces, and then deselect the bottom.

But there's an issue here. The default settings when working by Face and the Unwrap, is to have Backface Culling on or Ignore Backfacing when selecting. I'll go up to the top of my selection rollout and the Unwrap UVW Modifier, and turn off this option. With Ignore Backfacing off, now I can select the whole handle, deselect the base, and there is all of that cylindrical mass selected. Now I'll scroll down to the Projection section in the Unwrap UVW Modifier.

In the Projection rollout, I'm going to use a cylindrical projection. I'll click on the cylindrical map, and I can align it in various ways. The easiest here is on the Z axis, and the reason why is that I made this cylinder with its height going up on the Z. So picking Z gives me a near perfect unwrap as we can see here in my editor. Choosing X or Y gives me awkward polygons at best. Now I need to get the scale right. I'm going to close my unwrap for a minute and right-click and choose Top-level, and I need to get a material on.

I'll press M for my Material Editor. I've already made a material in here, and this one, all it has is a checker pattern and the Diffuse. I've made this, and included it in the sceneassets > images folder in the 3ds Max project. What this is, is a gradient applied across checkers with gray between, and letters that repeat through. This allows me to see where a map tiles or repeats as red will match up with green or yellow, and also, because of the letters, see which way it's facing. And finally, because of the letters being smaller detail, I can see if there is distortion within each square.

I know some folks like to use just black and white or something similar, but black stretching to black is still black, and white stretching to white is still white. So I like to have a little more detail in my map. You're free to use this one, and there is lots of others available out there; whatever works is fine. Now with this material applied, I'll make sure that I show it in the view, and there is those checkers. They work, but they're a little stretchy. So I'm going to fix this. I'll go back in my Editor. In the UV Editor, I'll press 3, and there is those faces still selected.

I'm going to use the scale and scale those selected sub-objects on the horizontal. As I start to scale these back down, we can see that those squares return back to square. The idea is that these started out as square. So if they are undistorted, they should be square again; this Unwrap then may be fairly skinny. I don't mind a little distortion along the sides to keep these edges straight, as I'm going to put this on a straight wood grain and it'll look pretty nice. This will also allow me to camouflage that texture seam. I'm going to show it a little easier by pressing F2 to turn off Shading Selected Faces.

As I scroll or orbit around this handle, I can see where there's a seam, but I'll have wood grain there, and so it should be pretty well camouflaged. That's one element. Now for the bottom. I'll spin underneath, select those bottom faces, and hit them with a planar map. I'll scroll down to the Projection, and choose Planar Map, and that worked nicely. The bevel is slight enough that I can really flat map them, and I'll just put where it looks like an end grain across and it will work well. What I'm setting up here for as I turn off the Planar Mapping is taking these UV shells, stacking together, and scaling them.

So once I get the head done, I'll have all the UVs in this 0 to 1 space. Then I'll stack in other objects right over it, reusing let's say a long chunk of wood grain here for both the hammer and the ladder I'll do in the next videos. That way I can have one texture as part of all of my materials for all of my different props instead of loading multiple images in and using up a lot of memory.

Show transcript

This video is part of

Image for Game Prop Creation in 3ds Max
Game Prop Creation in 3ds Max

93 video lessons · 5698 viewers

Adam Crespi
Author

 
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  1. 3m 41s
    1. Welcome
      1m 0s
    2. What you should know before watching this course
      19s
    3. Using the exercise files
      2m 22s
  2. 26m 8s
    1. Overview of modeling a large prop
      52s
    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 1s
    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 54s
  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 50s
    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 26s
    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 42s
    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 22s
  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 3s
    1. Overview of Mudbox
      57s
    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
      40s
    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
      33s
    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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