Discover Top Posts Tagged with #uv maps

Battle Damage Pinkbot

In case you wanted to know exactly what kind of idiot I am. I needed a broken version of Pinkbot but since I needed it to be asymmetrical I had to entirely re-do the UVs and texture. At which point I had a brand new updated cleaner version of Pinkbot which I then added all the damage to without backing it up first. So I had to do actual geometry / texture / UV repairs on a broken robot model.

#blender3d #lowpoly #animation #texturing #UV maps #blender #3d modeling #3d art

Building up/close up of objects

#uv maps #build up items

I HATE MAKING TEXTURES FOR GAME ASSETS.

Modeling is good. I don’t even mind making the UV maps, and apparently that’s rare. Making the textures is by far the most time-consuming, tedious, frustrating part.

I’d always used repeating textures in the past, which means you need little to no texture painting. Maybe you’ll do a little bit of editing in GIMP, like if you want to add some text or color gradients. Maybe you’ll assemble a texture from a few pieces. However, since I’m trying to make better objects, they have to be specially mapped and then the textures made specially for it. And the UV maps? Not that bad. They do take about as long as the modeling does, but they’re sort-of straightforward, at least on what I do. I don’t model animals or people; mostly furniture, architectural parts, and decorations. Then... making the textures.

I tried to make a dairy crate this week. The model took an hour. The UV mapping took another hour and a half. I then spent eight hours trying to get the texture right, which required more than a dozen tries to get D- quality. At that point I gave up.

I must be missing something and doing it horribly wrong, because this shouldn’t be the worst step, and it is.

#complaining #textures #uv maps

KNB222 - Week 09 - FoTF progress report

Google Doc Link: https://docs.google.com/spreadsheets/d/1qQm7uybqzzA7rCj2ENTONFeMYw2nriXJHOFqqvjLQ2c/edit#gid=675584718

This week, I’ve been focusing on getting the first series of buildings of the right side of the concept art complete, so I can move onto modelling the large, sun shade, the furthermost right building and then move onto texturing the signs.

I almost forgot to model in the deck area on the top-most segment of the first right buildings I’ve been producing. I did this by adding extra edge loops and moving faces down, as opposed to booleans, so don’t have to worry about edge loops so much at this point in time.

I’ve also started working on completing the UV maps for the buildings. I feel that I’ve learned the hard way, that I should do the UVs once I’ve got the basic shape of the building down rather than when the modelling is almost over, since a lot of the extra edge loops you make will transfer to the shells a lot nicely than you’d expect.over, since a lot of the extra edge loops you make will transfer to the shells a lot nicely than you’d expect.

I’d assume it’s only when booleans are involved, where the UVs would get broken and when you’re still using booleans, you still probably haven’t got the basic shape down.

Also note how I’ve stretched my UV shells, so I can maximise their space (and thus their detail/resolution) on a 1:1 square. Hopefully, this doesn’t cause any stretching issues with texturing, since I’m making these UV maps with Substance Painter in mind.

As part of the second floor of the building series, I’ve also attempted modelling the large, aircon fan, using cylinders and extruding faces out of them.

However, quite to my surprise, one of my team members, John had already modelled a fan blade for the aircon unit, which I’ll probably incorporate into my model of the fan housing.

I’ve used an 8 sided cylinder for the fan housing, since I’ve learned that it’s the most efficient number of sides for modelling circular objects in low poly.

I’ve also begun modelling the large, sunshade area, since it’s one of the top priority assets. I used the ‘mirror’ tool quite a number of times with it, since it saves time with the geometry and it would be tricky to make all sides parallel, since it curves downward.

This limits my options for translation/moving geometry without changing the shape. I also had to avoid making edge loops in between, the 4 edges that make up the curve, or else it might appear wonky when smoothed.

I’ve also started to delve back into modelling with cylinders and curves, aka pipes. This is so I can model the support beam(s) that hold the sunshade up.

I’m looking for ways to snap the centre of my cylinder to the curve (circled in red), but it looks like I might have to eyeball it, since the snapping functions on Maya won’t seem to cooperate. Hopefully, that doesn’t make modelling and editing the beams too difficult.

I’ve probably spent about 5-6 hours working this week. About half of it on modelling and half of it on UV mapping, since I had some catchup to do with what I’ve got for the first right buildings.

#knb222 virtual environments #Week 09 #Right Building 01 #UV Maps #Sun Shade

how i explained uv maps for a human to my friend who knows nothing about uv maps:

so imagine i cut open your skin so that im able to stretch it all out like paper so that its all flat :)

#and then i can paint on it #or give it texture #nat rambles #uv maps #3d stuffs #3d animation #3d #body horror #this was the first explanation my mind thought up

Haciendo últimas correcciones de props y UVs

#UV maps #3D model

Exporting UV Maps on Zbrush

I have finally figured it out in about 3 hours, while playing around Zbrush, which I've finally got on my laptop! Hooray!

Now that I know how to export UV Maps properly on Zbrush, it makes life a lot easier. Because manually creating the UV maps on Maya, to me, is just too time consuming. Plus, it involves chopping up your model into tiny little pieces.

I'm writing and posting this so I will always have the steps saved somewhere, in case I forget. Also, I just felt the need to share haha.

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Last year, for my final Digital Design Assignment, I sculpted a character which I was going to use for my animation, I spent a lot of time painting my character, (which was a fish) making it look as detailed as possible. Only to find out that for some reason, I wasn't able to export the UV maps for my model properly, so I had no clue how to resolve this problem. I searched for tutorials on google, tried them and failed, so I turned to asking people if they had a clue on how to get the UV maps for my fish. I ended up with a few options, and it was a lot of trial and error. In the end, one amazing friend showed me exactly what to do, which was creating the UV maps through Maya, and then saving it as a jpeg, so I could paint it on Photoshop. So, in the end, I did get colour on my fish.

The frustrating thing was, how did something so simple end up being so complicated?! When I figured out how to export the UV Maps of my model within Zbrush last night, I kept thinking to myself, how?! Why?!! Omg... and I spent way too much time last year trying to figure out how to get my UV Maps, that I didn't have enough time to make my animation look the way it was supposed to!

Anyways, enough of my blabbering. The past is the past, and I still managed to get a not too shabby grade :)

How to Export UV Maps on Zbrush, so you can get colour on your sculpted model when importing into Maya.

Note: If you have all your layers at the lowest sub-level, skip reading that huge paragraph below...

Before you start, make sure all the layers of your model under "SubTool", are at the lowest sub-level. If you have sub-divided your model several times, and want to maintain the amount of the detail, and polycount, go to "Geometry", and select ZRmesher, and on mine, I have "same" and "adapt" selected. Also, you want to do this before you have coloured your model, because once you've clicked "ZRmesher", you will lose everything you've painted on it, which means, you have to do it all over again.

1. Select "Zplugin". (I personally like to drag it either onto the left or right divider, but you don't necessarily have to do it).

2. Under Zplugin > UV Master > Unwrap.

3. Under the "Tool" menu, scroll down to "Texture Map". Now select "Create > New From UV Map."

In the little preview window, you should be able to see a flattened image of your model, which is your model's UV Map. It should also be a hue of green and orange.

4. Now you want to press Shift + F on your keyboard. This allows to see your model's polygroups.

5. Go back to "UV Master", and now you also want to select "Polygroups", which is next to "Symmetry", which should already be selected. Once selected, simply "Unwrap."

6. Now, go back to "Texture Map", and repeat step 3.

(Texture Map > Create > New From UV Map)

Once that is done, there should have been a slight colour change in the UV Map, which you should be able to see in the preview window.

7. At last, you can now export the maps! To do this, you want to go back to your Zplugin menu, and select "Multi-Map Exporter".

8. Under Multi-Map Exporter, on mine, I have "Vector Displacement", "Texture From Polypaint", and "Vector Mesh", selected. Then, click "Create All Maps", and choose where you want the files to save to.

You should then have three saved files:

tiff. file- UV Map

OBJ. file- 3D Model

mtl. file- not entirely sure what it is and does yet!! But I will find out eventually.

9. Now you may open Maya to import your 3D model of your character etc.

10. Click on your 3D model, and hold right click > assign new material > lambert (if you want to, you can choose another shade). This will lead you to your Attribute Editor. Where it says "colour", click on the little box with the arrow, and selected "file". Now select your tiff. file (UV Map), and press "Reload."

If you can't see the colour on your model, try select "texture", which is that little checkered ball next. It should allow you to see the colour of your model, which you painted on Zbrush.

#zbrush #tutorial #UV maps

Creating UV maps with BodyPaint

Learn how to create UV maps with BodyPaint in this video tutorial by The Rusted Pixel including the files available for download here