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So I spent some more time finishing out the UV map for the rest of my character's geometry, and I've tried my best to minimize distortion in the checkerboard pattern that I'm using in my material. There is a couple of places where I deliberately placed scenes or distortions where it'd be least visible. So one example that is here behind the leg you can see, the pattern gets a little bit distorted. Some of that is unavoidable. The trick is to just place it in a part of the character where it's least visible. And you can see in the UV Texture Editor window that I've separated out each UV shell into parts kind of based on the body structure.
So I have the face, the front of the torso, the back of the torso, and so on. And this'll give me a logical reference as I go into Photoshop to create the character's texture. So I'll know that I'll be able to paint on the front of the torso, the face, and so on. I've also made sure that all the UVs are facing forward and I can see this visually since I've got my shaded UV display turned on and all the shells are shaded blue. So the final step in our UV mapping process is to move and scale all of the UV shells so that they fit in this upper right quadrant of the UV Texture Editor graph.
Now the reason we want this is that, as UV sit outside of that upper-right quadrant, they'll tend to make the texture repeat and wrap back onto itself. Now this would make sense if our model were something like a brick wall for instance where we had a tiling texture that repeated over-and-over again. In this case though our character's texture is going to be pretty much a one-to-one relationship. We don't want anything to really repeat over-and-over again. So I'm going to go ahead and start scaling these shells to fit back in that upper right-hand quadrant. As I do this, I can scale the shells selectively, since the larger shell is in the UV Texture Editor graph, the more detail that part of the character's geometry can have.
So a good technique to use this is to start with parts of the body that you want to have more detail. So let's look at the face. I'm going to go ahead and switch to UV mode by holding down my right mouse button and selecting UV. I'll just click on any one of the UVs in the face shell and then hold down Ctrl, right-click, and select To Shell, so I'll select that entire shell for the face and I'll click W to get my Move tool. I just start dragging this around. Down to that upper right quadrant of the UV Texture Editor graph and now I'll switch to my Scale tool and just scale this down.
Now I want to make sure that for all these shells as I'm scaling that I'm scaling uniformly. So probably the parts of the character that I want to have the most detail are the face and probably the torso. So I'll fit those in first and then kind of scale everything down to fit around it. So I'll spend some more time moving and scaling my shells until I get everything to fit into that upper right quadrant of the UV Texture Editor graph.
Okay, so I spend some more time scaling and moving the UV shells from my character. Again, we want everything to fit in this upper-right quadrant of the UV Texture Editor graph, and we're almost ready to mirror this model to make it symmetrical. So when I mirror this half of the model that I've already created, the UV shells will be duplicated right on top of each other, and this will allow me to give more texture detail to the overall model but it also constrains me to having totally symmetrical texturing. So if I wanted to texture the model in a way where one side look different from the other, I would need to leave extra room in my UV map for shells from the other side.
Okay, so we're pretty much done with UV mapping. In the next video we'll mirror our geometry and get the character ready for texturing.
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