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Maya 2011 Essential Training
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Applying UV mapping


Maya 2011 Essential Training

with George Maestri

Video: Applying UV mapping

Texturing polygonal surfaces is a little bit different than NURBS surfaces. Polygonal surfaces have their own set of tools for precisely applying a texture map such as a bitmap or a procedural map. So let's go ahead and start off with a simple cube and shade that. Let's go ahead and just apply a simple texture. Let's apply a Lambert. Now for this we want to import something like a bitmap, so that we can have something to apply to this. So I am just going to go and create a render node.
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  1. 3m 50s
    1. Welcome
      1m 34s
    2. Using the exercise files
    3. A note on screen resolution
      1m 50s
  2. 1h 0m
    1. Overview of the Maya interface
      7m 42s
    2. Working with files and Maya projects
      2m 27s
    3. Navigating viewports
      5m 56s
    4. Reviewing the Viewport menus
      6m 28s
    5. Configuring safe frames and grids
      3m 21s
    6. Selecting objects
      4m 33s
    7. Using the Move tool
      3m 48s
    8. Rotating and scaling
      4m 31s
    9. Manipulating pivots
      3m 59s
    10. Understanding the Channel Box
      5m 36s
    11. Working with the Attribute Editor
      2m 28s
    12. Using the Hotbox
      2m 59s
    13. Working with marking menus
      3m 6s
    14. Customizing the interface
      3m 36s
  3. 59m 25s
    1. Creating polygonal objects
      6m 28s
    2. Working with polygonal components
      4m 42s
    3. Selecting polygonal components
      5m 44s
    4. Working with Soft Select
      7m 3s
    5. Using the Extrude tool
      6m 47s
    6. Keeping faces together
      2m 42s
    7. Extruding along curves
      3m 27s
    8. Using the Polygon Bevel tool
      4m 14s
    9. Smooth and subdivision surfaces
      7m 6s
    10. Blocking out a character body
      11m 12s
  4. 36m 6s
    1. Working with edge loops
      3m 27s
    2. Inserting and offsetting edge loops
      3m 38s
    3. Symmetrical modeling techniques
      5m 53s
    4. Combining objects
      3m 50s
    5. Using the Polygon Bridge tool
      2m 7s
    6. Connecting components and splitting polygons
      2m 48s
    7. Poking and wedging faces
      2m 49s
    8. Working with polygon booleans
      3m 17s
    9. Modeling with nonlinear deformers
      4m 54s
    10. Modeling with lattices
      3m 23s
  5. 1h 18m
    1. Introducing NURBS modeling
      5m 3s
    2. NURBS primitives
      5m 54s
    3. Using the NURBS curve tools
      5m 7s
    4. Creating Bézier curves
      1m 59s
    5. Creating text
      3m 51s
    6. Manipulating NURBS curves
      4m 13s
    7. Refining NURBS curves
      4m 16s
    8. Offsetting NURBS curves
      2m 31s
    9. Editing NURBS surfaces
      7m 3s
    10. Refining NURBS surfaces
      7m 22s
    11. Using NURBS Revolve
      7m 31s
    12. Using NURBS Loft
      4m 11s
    13. Using NURBS Extrude
      6m 0s
    14. Using NURBS Planar
      4m 47s
    15. Stitching NURBS surfaces
      8m 52s
  6. 35m 53s
    1. Extracting NURBS curves from surfaces
      5m 57s
    2. Creating curves on a surface
      3m 53s
    3. Projecting curves on surfaces
      7m 2s
    4. Trimming NURBS surfaces
      3m 42s
    5. Using the NURBS Fillet tool
      5m 31s
    6. Sculpting NURBS and polygonal surfaces
      5m 52s
    7. Converting NURBS to polygons
      3m 56s
  7. 33m 22s
    1. Working with the Outliner
      4m 58s
    2. Grouping objects
      4m 2s
    3. Creating hierarchies
      4m 17s
    4. Duplicating objects
      4m 51s
    5. Understanding the Hypergraph
      3m 32s
    6. Working with Hypergraph connections
      2m 31s
    7. Hiding and showing objects
      2m 12s
    8. Creating layers
      4m 2s
    9. Working with selection masks
      2m 57s
  8. 40m 18s
    1. Overview of renderers
      3m 24s
    2. Understand the basics of materials
      6m 15s
    3. Creating and applying maps
      5m 13s
    4. Using bitmaps as texture
      2m 59s
    5. Working with the Hypershade window
      5m 12s
    6. Working with mental ray materials
      6m 57s
    7. Using displacement and bump mapping
      3m 14s
    8. Using the Ramp Shader
      2m 36s
    9. Using the 3D Paint tool
      4m 28s
  9. 30m 14s
    1. Texture-mapping NURBS surfaces
      5m 46s
    2. Projecting textures onto surfaces
      4m 0s
    3. Texture-mapping polygonal surfaces
      7m 0s
    4. Applying UV mapping
      8m 11s
    5. Using the UVW Editor
      5m 17s
  10. 41m 16s
    1. Creating joints
      10m 2s
    2. Deforming a mesh using the Skin tool
      5m 2s
    3. Creating IK handles
      6m 48s
    4. Creating blend shapes
      5m 39s
    5. Rigging nonlinear deformers
      2m 36s
    6. Finalizing the character
      4m 45s
    7. Rigging the character to the scooter
      6m 24s
  11. 1h 5m
    1. Working with the Timeline
      4m 16s
    2. Creating and adjusting keys (keyframes)
      5m 4s
    3. Editing keys
      3m 13s
    4. Modifying keys in the Graph Editor
      5m 47s
    5. Modifying keys in the Dope Sheet
      2m 51s
    6. Creating breakdown keys
      2m 28s
    7. Animating objects along paths
      5m 54s
    8. Animation playback using Playblast
      3m 10s
    9. Animating with constraints
      6m 16s
    10. Creating animation cycles
      8m 25s
    11. Using set-driven keys
      6m 13s
    12. Adding sound to animations
      2m 24s
    13. Finishing the animation
      9m 45s
  12. 1h 2m
    1. Lights and lighting types in Maya
      7m 29s
    2. Adding depth-map shadows
      4m 13s
    3. Using Raytrace shadows
      3m 28s
    4. Understanding the basics of cameras
      7m 14s
    5. Adding depth of field
      6m 31s
    6. Adding Bokeh using mental ray
      4m 33s
    7. Using motion blur in Maya Software Renderer
      4m 10s
    8. Using motion blur in mental ray
      3m 5s
    9. Raytracing reflections and refractions
      4m 41s
    10. Interactive rendering with IPR
      3m 33s
    11. Lighting a scene
      8m 29s
    12. Batch rendering
      4m 53s
  13. 25s
    1. Goodbye

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Maya 2011 Essential Training
9h 8m Beginner Jun 01, 2010

Viewers: in countries Watching now:

In Maya 2011 Essential Training, George Maestri demonstrates the tools and feature set in Maya, as well as the skills necessary to model, texture, animate, and render projects with this deep and robust piece of 3D animation software from Autodesk. This course takes an in-depth tour of Maya's interface, including navigating and manipulating objects in 3D and customizing the workspace. The course also covers object creation and modeling basics, shading and texturing, surface mapping techniques, character rigging, and lastly, rendering and final output. Exercise files accompany the course.

Topics include:
  • Getting familiar with the Maya interface
  • Organizing scenes
  • Creating hierarchies
  • NURBs modeling for solid objects
  • Adding color to models
  • Applying bitmap textures
  • Working with mental ray materials
  • Polygonal modeling for characters and organic objects
  • Deforming with the Skin tool
  • Setting up lights and cameras
  • Creating realistic effects such as depth of field
  • Working with the Timeline
  • Creating animation cycles
  • Batch rendering
  • Rendering with the mental ray engine
3D + Animation
George Maestri

Applying UV mapping

Texturing polygonal surfaces is a little bit different than NURBS surfaces. Polygonal surfaces have their own set of tools for precisely applying a texture map such as a bitmap or a procedural map. So let's go ahead and start off with a simple cube and shade that. Let's go ahead and just apply a simple texture. Let's apply a Lambert. Now for this we want to import something like a bitmap, so that we can have something to apply to this. So I am just going to go and create a render node.

And this time I am going to actually do a File. Just use that Donut image that we've been playing with here. So in order to see this in the window, I need to do what's called Hardware Texturing. You can see that what's happened is it's kind of mapped this donut image-- However it decided it was the best way to map this image, it mapped it. Well, if we want more precise control, we can do that by creating what's called UVs.

So we go into our Polygonal menu set and we go under Create UVs. In fact, I am going to tear this off. We've got a number of different options here and each one of those can map the entire surface or can map groups of faces. So remember how we applied materials to groups of faces? We can do the same thing with this. We can just select an individual face and map that individual face. Right now, I am just going to go ahead and map the whole cube, so we can kind of see how this works.

So when I do planar mapping, what it does is it creates this object that maps a plane. So all I have to do is grab the edges of this object, and move it, and I can manipulate it. In fact, if I go into the Attribute Editor, you'll see there is actually a node that's created called polyPlanarProjection. I can actually manipulate the values here. So let's say, well, I actually want it from the top-down as well, then I can just take that away and maybe rotate it along the X axis for example and that will go ahead and make this go from the top-down.

And really you can manipulate this however you want. You can even rotate it. There are all sorts of parameters here that you can play with. Now, if we don't want Planar Mapping, we've got a number of other ones. We've got Cylindrical Mapping, which creates as you can see here, it creates a bit of a cylinder and we can scale the cylinder. We can move it up and down. We can do what's called Spherical Mapping, which again very simply it creates a sphere. So it projects that texture from a sphere around the object.

Now, for a cube, that might not work as well. There is another one called Automatic Mapping and what this does is it projects from each plane. So, for example, every side gets its own image plane and then I can give it as many planes as I want right here. I can give it a scale. I can do all sorts of things. So this actually is probably the best for mapping generically. There is also one called Best Plane Texture tool, and again for all of these, you need to be in Object mode.

So make sure you go into Object mode. Another one is called Create UVs Based on Camera, and that will actually project it from the direction that you're looking at. Now all of this is great, but let's go ahead and use this in a more precise context. Let's go ahead, and use it in a more of a real life example. So I am going to go ahead and open a scene called Dog_11 and that's our famous little dog here. So let's go ahead and start off with his head, and let's apply a texture map to his head.

Now I've created a map that maps precisely from the side. So what I've done is I've actually taken a side view of him and actually created a texture map that worked well from this view and that actually makes it much easier to map, because he is symmetrical. So let's go ahead and first of all just place the map on and see what that does. So I am going to go ahead and create a Lambert material, click on Render Node, go into File, and there should be a file out there called Dog_Head.

Now this looks kind of weird, but bear with me. This will actually work really well. Well, it looks super weird now, because it's really not mapped all that well to his head. But we can do a Create UVs to actually make this work. So we are going to go ahead and do Planar Mapping. Wow! That's almost perfect. So I want to make sure that I'm projecting along with the rotation here of 90 degrees and my Projection Width and Projection Height seem pretty good. Actually, I probably can raise his brow a little bit, but this is actually looking pretty good just the first time out.

You'll notice there is a little spot on the back of his head, so I can just again expand that and off you go. So that's one way. Let's go ahead, right-click and go back into Object mode. So now I've got that map on his head. If I want, I can also create a texture map for his eye. Now typically, how I create a simple pupil is I use what's called a ramp for the Render Node. So let's go ahead and apply a Phong E, which gives him kind of a glassy eyed look and then under Color, let's go ahead and put in a Ramp.

Well, that doesn't look right. Well, this doesn't look right either. I am going to look at this texture sample here. I want to make sure that I set it to Type: Circular Ramp. So again, I'm looking here, not here. We will map this a little bit later here. What I want to do is make sure that my internal color is black, and then each one of these colors is white, because it's just going to be a black-and-white eye. I am really tight on space here, so bear with me.

Then I just want to move this here. So now I've got, you can see basically what I am doing is I am creating a circle here. Now I have to map this here. Well, again we can do that by using a planar map. So I am going to do Create UVs > Planar Mapping. Now, this one is going the wrong way. So I need to rotate this. So I am going to go ahead and zero this out and see what that does. That actually works pretty good except it needs to rotate a little bit more. So I am going to do negative say about 20 or so, and maybe even a little bit more, maybe 22 or 23.

Again, what I am trying to do is line this up, so that this is rotated so that that spot is centered, so maybe even 24 degrees. That actually looks pretty good. So if I want, I can actually take that polyPlanarProjection and again I can scale it. If I want this to be a little bit more circular, I can do it that way as well. So now I will go back into Object mode and you can see I have my eye. Now, for this eye, well, I have already got it mapped. So I am just going to go ahead and delete this and just do Ctrl+D and move the other one over, so that way I don't have to repeat that process and there we go.

Let's go ahead and fix his ears. Let's go ahead and finish this guy up. So I am going to go ahead and select his ears and just right-click, Assign Existing Material, and that's going to be the black for his ears. And one more. We need to go ahead and select the head, and let's go ahead and get that nose. Then I go ahead and select Face, and then just lasso-select all the faces on the head, right-click, and again he is going to have a black nose.

So there we go, so, there. So now our dog is completely textured. As you can see, we've used several different methods of assigning materials by polygon and also mapping him.

Find answers to the most frequently asked questions about Maya 2011 Essential Training.

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Q: The Chapter 2 exercise file dog_reference.mb appears blank when opened in Maya. I can't see the dog image. What do I do?
A: Make sure you are working with the most current version of the exercise files for this course from the site. Try downloading the files again. If the image still doesn't appear, make sure the project folder is set to the matching (Chap02) folder in the exercise files.
Also check to make sure you have "hardware texturing" enabled under the viewport's Shading menu.
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