Game Prop Creation in Maya
Illustration by Mark Todd

Game Prop Creation in Maya

with Adam Crespi

Video: Moving and sewing UVs

I have continued unwarapping the gas pump, and I can see I've got some obvious issues here on the top. I need to take a different approach to un-wrapping these curved top polygons. I've set it up so I've got a clean seam in my UVs here and also at the front, as we can see where the clear letters match up with the distorted ones. Rather than a planar map on the top, I need to try a different approach, and the reason is, as these polygons start to turn more and more, that planar map smashes those UVs through. It's not giving me what I want, and it's going to distort a very visible part of the gas pump.
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  1. 7m 22s
    1. Welcome
      43s
    2. Using the exercise files
      1m 35s
    3. What you should know before watching this course
      23s
    4. Setting up the workflow
      4m 41s
  2. 46m 16s
    1. Overview of modeling a large prop and planning for modular textures and models
      6m 53s
    2. Blocking out the overall form
      6m 14s
    3. Adding curved panels
      3m 26s
    4. Rounding the corners
      6m 46s
    5. Unwrapping the face frame
      6m 39s
    6. Unwrapping the sides
      5m 8s
    7. Moving and sewing UVs
      5m 23s
    8. Laying out the UV coordinates
      5m 47s
  3. 1h 50m
    1. Overview of the texturing process and PSD networks
      4m 43s
    2. Creating a bump map for the sides
      10m 55s
    3. Adding details to the bump map
      8m 6s
    4. Drawing the bump map for the front
      7m 51s
    5. Adding details to the panels
      7m 45s
    6. Painting the diffuse texture and planning the layers
      3m 35s
    7. Painting the base coat and the logo
      5m 24s
    8. Adding labels and other markings
      10m 45s
    9. Adding soft rust
      8m 32s
    10. Adding rust bubbles
      8m 58s
    11. Setting up a library of gas pump textures
      6m 40s
    12. Painting dirt and rust variations
      5m 23s
    13. Weathering away the paint
      5m 1s
    14. Converting bump maps to normal maps
      5m 36s
    15. Testing the maps
      11m 8s
  4. 1h 28m
    1. Overview of modeling small props
      1m 59s
    2. Modeling a sledgehammer
      6m 11s
    3. Modeling a pry bar
      6m 26s
    4. Adding detail and hardening edges
      5m 28s
    5. Unwrapping as part of building a texture sheet for small tools
      8m 27s
    6. Modeling a metal ladder
      8m 51s
    7. Unwrapping and cloning
      8m 46s
    8. Placing the clean texture
      8m 39s
    9. Laying out a texture sheet for multiple tools
      8m 37s
    10. Painting rusty steel
      7m 46s
    11. Adding dirt and wear
      5m 42s
    12. Planning for optimal texture usage
      7m 37s
    13. Painting dirt and age variations
      3m 42s
  5. 1h 45m
    1. Modeling furniture using simple parts and reusable textures
      2m 53s
    2. Planning and analyzing the modeling of a chair
      4m 56s
    3. Blocking out the basic form
      8m 24s
    4. Adding detail and softening edges
      6m 42s
    5. Refining the silhouette
      12m 9s
    6. Blocking out the form of a round chair
      7m 39s
    7. Adding detail and softening the edges of a round chair
      5m 20s
    8. Unwrapping as part of building a texture sheet for furniture
      14m 36s
    9. Planning the modeling of a table
      3m 14s
    10. Blocking out the basic table form
      4m 41s
    11. Adding legs to the table
      7m 6s
    12. Breaking up the model for texturing
      7m 55s
    13. Laying out the wood texture
      9m 29s
    14. Reusing parts to make a round table
      10m 12s
  6. 39m 23s
    1. Understanding the importance of painting textures from scratch
      2m 9s
    2. Creating the initial grain lines
      4m 43s
    3. Adding value variation across the grain
      2m 22s
    4. Warping the grain
      2m 50s
    5. Adding knots
      4m 27s
    6. Colorizing the grain and planning for stains
      6m 53s
    7. Cutting out boards for a UV layout
      5m 26s
    8. Adding patina and wear to a final texture
      10m 33s
  7. 1h 2m
    1. Understanding the importance of a low poly count
      4m 46s
    2. Overview of normal maps
      9m 26s
    3. Overview of the high-poly projection pipeline
      3m 10s
    4. Planning the UV space for projection
      5m 29s
    5. Working with hard edges and subdividing
      7m 22s
    6. Adding details by beveling and extruding
      6m 50s
    7. Fixing geometry
      7m 39s
    8. Using the Sculpt Geometry tool and soft selection to add dents
      9m 32s
    9. Baking the high-poly model onto the low-poly model to produce a normal map
      8m 21s
  8. 51m 4s
    1. Overview of Mudbox
      4m 26s
    2. Preparing for a smooth export to Mudbox
      7m 43s
    3. Importing from Mudbox: Choosing the right resolution
      5m 9s
    4. Using the sculpt tools
      8m 30s
    5. Painting
      8m 58s
    6. Exporting paint layers from Mudbox
      1m 35s
    7. Extracting and exporting a normal map from Mudbox
      6m 2s
    8. Importing and assigning objects and maps in Unity
      8m 41s
  9. 41m 4s
    1. Overview of ambient occlusion and specularity
      5m 55s
    2. Setting up ambient occlusion as a texture
      7m 3s
    3. Using ambient occlusion as a foundation for dirt
      6m 44s
    4. Using ambient occlusion as a foundation for rust
      10m 5s
    5. Painting a specular map
      6m 48s
    6. Streamlining the import process: Placing maps in the right channels
      4m 29s
  10. 21m 46s
    1. Overview of importing into Unity
      3m 15s
    2. Preparing and exporting props to Unity
      7m 54s
    3. Cloning props in Unity with different looks
      5m 21s
    4. Adding lights to test smoothing and textures
      5m 16s
  11. 22s
    1. Next steps
      22s

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Watch the Online Video Course Game Prop Creation in Maya
9h 33m Intermediate Aug 20, 2012

Viewers: in countries Watching now:

Explore the world of modeling and texturing 3D game props and assets in Autodesk Maya. Author Adam Crespi provides strong technical modeling techniques, from blocking basic forms and leveraging simple parts and reusable textures, to simulating real-world detail like dirt, wear, and grain with UV maps and ambient occlusion. The course includes workflow and integration considerations such as planning UV space for projection, and also steps into Mudbox and Unity for further refinement.

Topics include:
  • Planning for modular textures and models
  • Blocking out the overall form of a prop
  • Moving and sewing UVs
  • Laying out UV coordinates
  • Texturing with bump maps
  • Converting bump maps to normal maps
  • Unwrapping and cloning objects
  • Breaking up a model for texturing
  • Painting textures from scratch
  • Adding detail with beveling and extruding
  • Baking high poly model onto a low poly model
  • Painting in Mudbox
  • Importing and assigning objects and maps in Unity
  • Adding lights in Unity
Subject:
3D + Animation
Software:
Maya Unity 3D
Author:
Adam Crespi

Moving and sewing UVs

I have continued unwarapping the gas pump, and I can see I've got some obvious issues here on the top. I need to take a different approach to un-wrapping these curved top polygons. I've set it up so I've got a clean seam in my UVs here and also at the front, as we can see where the clear letters match up with the distorted ones. Rather than a planar map on the top, I need to try a different approach, and the reason is, as these polygons start to turn more and more, that planar map smashes those UVs through. It's not giving me what I want, and it's going to distort a very visible part of the gas pump.

What I'll do instead is go in and picks that shell and then try some different unwrapping. Once you've unwrapped, things are presented in UV shells in the Texture Editor. Under Edit UVs, I'll go in to my editor, and there is my shells all stacked up. What this lets me do then is use it as a selection. I'll pick the Move UV Shell tool and select that shell. That way instead of having to reselect those faces, I can grab them cleanly this way. I'll press Ctrl+F11 to convert that selection to faces. And now under Create UVs, I'll choose Automatic Mapping.

Here in my editor it's split it open a bit. I've got the sides of the top and the top itself. With some creative moving and sewing, I can probably get this back together nicely. More importantly, it eliminated a lot of the distortion. Yes, some of the pieces may be a little backwards, but the squares are predominately square. A little stretching I can accommodate, and I can probably even it out. But I can get it to a point where I can paint the rust in this very visible section and not have it terribly stretched. My one ally in this case is of course this has been outside for years, and the rust, because of water dripping down it, streaks.

Here's how I'll handle this in the Texture Editor. I'll pick my Move UV Shell tool and grab these shells and pull them out of the way. What we're seeing here is that the shells are all stacked up and because I've mapped both sides at once, some are red and some are blue. What I've also done here in my editor is to turn off the default view. What it looks like when you start up is this. Everything is in a wireframe with the image you're using as your texture shown. It makes it difficult, I think, to see your UVs. What I do then is to turn off that image and toggle on shading the faces.

This way I can see which way they're facing and grab my shells a little easier. What I'm seeing then is that the red are backwards, and I can tell they are backwards also because the letters in the viewport are backwards. I'll deal with this one later. Right now I'm going to take these pieces at the top and start to stitch them in. I'll press W for move and right-click and choose Edge. I'll start to pick some edges on my top here, and I can see the orange edge here corresponds to the orange edge there. I'm going to pick other edges on the top here.

Selecting and I can see their counterparts selected as well. And under Polygons, I'll choose Move and Sew. It's going to so those sew together, and it's actually giving me a small gap, right here, or a little bit of an overlap. I want to be careful how I'm moving and sewing, to get these in the right place. I'll undo that by pressing the Z, hold Shift and add to that selection, and select those two legs. And now I'll try a Move and Sew on them, choosing Polygons and Move and Sew.

Much better. I can stand a little bit of tear here because I can fix that, but more importantly, I can paint the rust seamlessly from the top all the way over to the side to where it needs to break at the front. Now I'll repeat the moving and sewing, picking an edge, holding Shift, and double-clicking on the rest of the edge loop. In this case I've broken that loop structure, by having that giant polygon in here and then subdividing it using the Split Polygon tool. I'll go and select these manually, holding Shift to add that selection.

Then I'll do a Move and Sew again, and get the rest of the top in. Once I've got edges selected, I can hit G to repeat last, because the Move and Sew command is repeatable. There's the top, and if I look over here in my display, it's a little more distortion-free. I've got a couple of places right here, I can see I'm stretching the A on the red, but I can fix that by scaling or moving those vertices. To fix UVs once you've got a large shell in, you can right-click and choose either Edge or Vertex and convert that selection if you need.

In our editor we can only move UVs, so I'm going to actually pick UVs and press W for move. Here in my viewport I can select UVs, and there they are, in the UV Editor. My thought is that this polygon here is much taller than it shows up over here. What I'll do then is try grabbing the four UVs next to it and pulling them slightly, and seeing where that distortion goes. And I think with a little bit of careful work, I can get some of the distortion out. I'll hold Shift and add to that selection and see if I can tug gently on these and get that shape restored.

As long as I get most of the distortion out, I will be in pretty good shape. What I may also want to do is pick the counterparts here on the other side, making sure I grab all of them, and press R for scale. I'll scale them out on the Y axis just a little bit, and those squares come back to square decently. I can do the same on the other side, getting this shell evened out and ready for laying out in this texture space.

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