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Unwrapping the face frame


Game Prop Creation in Maya

with Adam Crespi

Video: Unwrapping the face frame

Unwrapping the face frame provides you with in-depth training on 3D + Animation. Taught by Adam Crespi as part of the Game Prop Creation in Maya
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  1. 7m 22s
    1. Welcome
    2. Using the exercise files
      1m 35s
    3. What you should know before watching this course
    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

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Unwrapping the face frame
Video Duration: 6m 39s9h 33m Intermediate Aug 20, 2012

Viewers: in countries Watching now:

Unwrapping the face frame provides you with in-depth training on 3D + Animation. Taught by Adam Crespi as part of the Game Prop Creation in Maya

View Course Description

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
3D + Animation
Maya Unity 3D
Adam Crespi

Unwrapping the face frame

I've adjusted the form on the gas pump just a little bit, and I'm ready to add in the inset faces for the dials. I've just massaged some of the curves up on the top, making sure that the edge loop is in the right place for that subtle curve as the side curve is in. I'm ready to deal with hardening and softening edges to eliminate some of the creasing from the original box. What I will typically do on a model is either soften all the edges and come back and harden selectively or harden everything and then come back and soften selectively. It's really up to you how you want to proceed.

What I'll do here is spin around to the bottom first and delete the unneeded polygons. I'll select them and then hold Ctrl to deselect any of the verticals. I'll hit Delete, and now I have an open border at the bottom. Then I'll press F8 for Object, hold Shift and right-click, and choose Soften/Harden Edge > Soften Edge. I'll make sure I turn off my wireframe on shaded and see if it softens decently. It looks pretty good, although I need to add a little bit more curve to the top.

I'll zoom in--and this is one of the reasons I came back and subdivided this. I'll pick this top polygon. It's important when you're adding in curves, especially for a game, that rather than pulling up an edge or a point, you pull up a polygon so that at the top of the curve, when we look at it straight on, we see this: a little bit of a flap, which if we come back far enough, really starts to look like a curve. It's better seeing this than a peak in a model. I could come back and use that Split Polygon tool to add in more loops here to get a little more subtle curve, but I think this will work fairly nicely.

I'm going to insert the front panels, and then I'll start the unwrap. What I'm going to do is pick the three big front faces on each side, holding Shift to add to the selection. I'll zoom in, hold Shift and right-click, and choose Extrude Face. I'm going to extrude these in by scaling, first on the X and then on the Y axes. I'll pull these in, and it's going to give me a centered extrusion. Then I'll hit G to repeat last, and I'll take this extrusion and pull it in on the Z axis slightly.

It gives me the inset face on both sides, and I can come back and round over these corners a bit. What I'll do is go back to my front view. I tend to switch around views a lot, and it's okay to do this and zoom in. Now, what I'll do is some scale. I'll go to a wireframe by pressing 4. I'm going to select the corner vertices of this panel, holding Shift to add to the selection. And actually what's happening is I'm grabbing both sides. I'll press R for scale and scale them down on the Y axis just a little bit and approximate a little bit of a curve.

If needed, I can add in a couple more edge loops and curve these further. I'll hold Shift and right-click, but it looks like I need to change over to edges so I can pick that Insert Edge Loop tool. I'll press F10 for Edge, hold Shift and right-click, and it looks like I still need to change that marquee menu. The reason for this is it still thinks I have vertices selected. If I pick an edge, hold Shift and right- click, there is my tools for edges, and here's my Insert Edge Loop tool. What I will do is put it at Multiple edge loops at 2 and land an edge loop right across it.

This is how I can tell I've got a good model going. One edge loop insertion travels all the way around the model, and I can see it in a perspective view. Now, I can take vertices, pressing F9, and selecting these middle vertices, holding Shift to add to the selection and curving out those sides. I can go back and look at the reference and scale this up and move it up and down as needed. I'll move it, get it positioned correctly, and then do a mass-unwrap on this object. I'm going to pull up the sides here, keeping the sides themselves straight, getting the display in the right place, and pulling up the top and bottom to make the approximation of a curve at the corners of that inset.

I switch into a perspective view in Shaded mode by pressing 5, and I'll do a little more scaling on the inside faces. What this is going to give me is just a little bit of a corner here--not really a full round, as I can't spare the polygons to radius this, but it needs to be less than straight. So, I'll scale these in on the X axis first and then the Y. So, I've got a little bit of a slope here. With a normal map, these will start to look pretty decent. More importantly, if I back out far enough, there is that display, and it looks right about the right shape.

Here's how I'll proceed with the unwrap. What I'd like to do is to stack the UVs, stacking the fronts and the sides together. We've got a bunch of different ways to do this. What I'm going to do is to look at the reference and see where I can make a break in the texture. I've got a good clean break in the texture; the sides and top are red and the front is white. If I can break on that edge line, I can unwrap those in almost a planar map and stack those UVs. To start in with the unwrap, I'll press F11 for Face.

I'm going to pick the front face right in the middle of that display. I'll spin around, hold Shift, and grab the other one. Now I'll hit Shift+Period or Greater Than. This grows out the selection, and I'll grow it out until it captures all of that display. Then I'll hold Shift and add to that selection by clicking on those lower polygons. I'll pick the upper ones that go with it, and there is the front of the gas pump selected. Under Create UVs, I'll hit them with Planar Mapping.

I need to rotate this mapping over, and the quickest way to do this, to get it aligned correctly, is to put in some flavor of 0 or 90 degrees in the rotation on the mapping. I'll put in 0 and that mapping flips in the right direction. What I'll also do to get the proportion right in a planar map like this, because right now this is going to be stretched in my UV layout, is to take the height, press Ctrl+C for copy, and copy it over to the width. Now, I'm projecting onto its square.

And when I go into the texture editor, what I get is those polygons. They may not be fitted and laid out correctly in the space here, but they are correctly proportioned so that I'm not stretching the UVs. I'm going to keep unwrapping, and I'll look at unwrapping the sides and the top in the same way, and stacking those shells. Once I've got it unwrapped and flattened and distortion-free, I can lay out those textures to optimize that texture space and start painting in rust.

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