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Using UV Master

From: ZBrush 4 Essential Training

Video: Using UV Master

UV master makes a UV map of 3D models. The result is kind of like a bearskin rug. It's a flat surface for storing color and other maps in a 2D image that can be exported to other programs. It's easy to use but does involve a few steps that are worth practicing. Make sure you have got the UV Master plug- in installed and open up the exercise file. I am going to get the Light Box out of the way, and you also want to make sure that the model is on its lowest subdivision level. So let's see, Geometry is on one. That's good.

Using UV Master

UV master makes a UV map of 3D models. The result is kind of like a bearskin rug. It's a flat surface for storing color and other maps in a 2D image that can be exported to other programs. It's easy to use but does involve a few steps that are worth practicing. Make sure you have got the UV Master plug- in installed and open up the exercise file. I am going to get the Light Box out of the way, and you also want to make sure that the model is on its lowest subdivision level. So let's see, Geometry is on one. That's good.

Now go up to the Zplugin menu, and we'll just dock this to the palette. I am going to click on this button here. Let's expand the UV Master sub-palette. Now there is a lot of options in here, but let me go through them. You could just click on Unwrap and let UV Master do its thing, and it will spit out a UV map. It's going to take a few seconds. Now it's done. Let's go down to the Texture sub-palette > Texture Map, and see what result we got.

If we click on New From UV Map, ZBrush is going to create a texture map that shows us what the UVs look like. So if you hold the mouse over this little image here, you can see that it's taken the entire 3D model and it's flattened it out into a 2D image. The texture that's on the 3D model also shows you where the seams are. So you see that there are these two big seams right at the front of the model, and one seam is cutting the head in half, and usually I'd like to put seams in less conspicuous places.

Now let's turn this map off and go back to the UV Master sub-palette and customize some settings to get a better result. Let's turn on Polygroups by hitting Shift+F. You can see that I have already split the model's main parts into separate groups. UV Master can use these groups to split up the UV map as well. This usually produces a better result because it doesn't have to flatten out one big shape; instead, it can work on getting the best result for several smaller shapes.

So let's just turn on Polygroups to take advantage of that option. You can also turn on Use Existing UV Seams. This feature is useful if you've cut UV seams in a different program and you just want UV Master to do a neater job of flattening out the map. I don't want to use it this time because we've already got seams that spread out the entire model into one map, so that's not useful right now. You could use the Unwrap All button. What that does is it unwraps all the subtools at once, but I prefer to do them separately.

That way I have more control over the final result. Now that we've activated the Polygroups setting, let's hit Unwrap again and see what we get. All right! Let's take a few seconds. Let's go back down to Texture Map and click New From UV Map again. Now you can see the result has broken up all of the different polygroups that I had and so we are getting seams in a lot of better places now. Let's just turn off Polygroups, hitting Shift+F. It actually included the wireframe that I had turned on.

Let's make another one with that turned off. New From UV Map. Okay, so it's a little easier to see now. So the seams are in less conspicuous places. Now we are not cutting one right across the middle of the face, and it is cutting seams in places like around the belt where there is a natural seem anyway, and around the hill of pants, so that's a good place to put seams. UV Master is great at doing a fast general-purpose UV Map, but if you need a highly efficient map for things like games where every pixel counts, you'll be better off laying out the UVs in a program that is more dedicated to that purpose.

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This video is part of

Image for ZBrush 4 Essential Training
ZBrush 4 Essential Training

63 video lessons · 14627 viewers

Ryan Kittleson
Author

 
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  1. 5m 13s
    1. Welcome
      55s
    2. Using the exercise files
      59s
    3. What is ZBrush?
      1m 47s
    4. A note on screen resolution
      1m 32s
  2. 19m 17s
    1. Making sense of ZBrush
      2m 39s
    2. Understanding the interface
      2m 29s
    3. Using Light Box
      1m 23s
    4. Navigating the canvas
      2m 2s
    5. Using Perspective and Floor
      1m 51s
    6. Understanding local centering
      1m 9s
    7. Trying different materials
      2m 7s
    8. Activating symmetry
      2m 15s
    9. Viewing your work in various ways
      3m 22s
  3. 19m 59s
    1. Understanding polygon-based models
      1m 45s
    2. Creating ZSpheres
      4m 21s
    3. Using ShadowBox
      2m 15s
    4. Making a ZSketch
      2m 47s
    5. Extracting from an existing mesh
      4m 0s
    6. Using primitive 3D meshes
      3m 24s
    7. Importing from other programs
      1m 27s
  4. 23m 43s
    1. Understanding brush settings
      2m 45s
    2. Inverting brush effects
      1m 9s
    3. Switching to Smooth mode
      2m 35s
    4. Setting the stroke properties
      4m 14s
    5. Working with alphas
      2m 34s
    6. Using the Move brush
      2m 51s
    7. Using the Clip brush
      2m 58s
    8. Learning a few more common brushes (Polish, Clay, Flatten, Inflate, Tracks)
      2m 14s
    9. Saving and using brush presets
      2m 23s
  5. 26m 53s
    1. Working with tools and projects
      1m 52s
    2. Working with subdivision levels
      3m 4s
    3. Masking off parts of your model
      2m 28s
    4. Masking based on cavity and occlusion
      4m 23s
    5. Selecting and hiding parts of a tool
      2m 51s
    6. Working with polygroups
      2m 0s
    7. Using deformation
      1m 59s
    8. Mirroring geometry across an axis
      1m 49s
    9. Restoring symmetry
      1m 45s
    10. Creating morph targets
      2m 31s
    11. Understanding surface normal direction
      2m 11s
  6. 8m 57s
    1. Learning the basics of subtools
      2m 37s
    2. Making new subtools
      3m 12s
    3. Combining subtools
      3m 8s
  7. 7m 20s
    1. Masking with Transpose
      1m 49s
    2. Adjusting the Transpose Manipulator
      1m 46s
    3. Moving, scaling, and rotating with Transpose
      3m 45s
  8. 20m 25s
    1. Understanding how ZBrush uses color
      2m 36s
    2. Learning the basics of Spotlight
      3m 37s
    3. Painting and texturing with Spotlight
      2m 56s
    4. Texturing a head: A practical approach
      11m 16s
  9. 21m 14s
    1. Drawing new edge flow for retopology
      7m 52s
    2. Tips for making good edge flow
      5m 14s
    3. Creating new topology
      3m 55s
    4. Transferring detail from the old model to the new
      4m 13s
  10. 13m 28s
    1. Understanding the UV maps
      2m 47s
    2. Installing the UV Master plug-in
      1m 47s
    3. Using UV Master
      3m 46s
    4. Creating texture maps
      5m 8s
  11. 6m 36s
    1. Preventing problems
      1m 42s
    2. Recovering a corrupted model
      2m 28s
    3. Recognizing and fixing common problems
      2m 26s
  12. 4m 54s
    1. Examples of ZBrush work
      3m 16s
    2. Goodbye
      1m 38s

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