The UV Texture Editor ◾ 351
FIGURE 13.22 UV Texture Editor.
FIGURE 13.23 Render—aer mapping.
352 ◾ 3D Animation for the Raw Beginner Using Maya
The UV Smudge Tool
We will now go back to the default layout, as seen in Figure13.26, and work from there. We
will go to the UV Texture Editor and choose:
Tool → UV Smudge Tool
We want to remove some of the sharp lines that we see in the rendering in Figure13.20
to give the eect of worn paint. We also want to put a little of the rust in the texture on the
knob. We right click in the UV Editor, as seen in Figure13.27, and use the Smudge Tool to
move some vertices around, thereby breaking up those sharp lines. e fairly subtle result
is shown in Figure13.28. You be the judge.
FIGURE 13.24 Cylindrical Mapping.
FIGURE 13.25 (See p. CI-15 of Color Insert) Doorknob render aer Cylindrical Mapping.
The UV Texture Editor ◾ 353
FIGURE 13.26 e UV Texture Editor smudge tool.
FIGURE 13.27 (See p. CI-15 of Color Insert) UV texture being smudged.
354 ◾ 3D Animation for the Raw Beginner Using Maya
A COMPARISON OF DIFFERENT UV EDITOR MAPPINGS
We are going to take a look at two dierent textures and compare their appearance on the
Moai aer applying various mappings in the UV Texture Editor.
In Figure13.29, we see the default mapping of the checkerboard on our Moai. is is
what we get if we simply open the model with Maya and then open the UV Texture Editor.
e resulting render is shown in Figure13.30.
Compared to a Projection texture, the default layout of a Normal 2D texture has fewer
repetitions of the given texture on the surface of the object. is is why the checkerboard
in Figure13.30 is so large. is might seem arbitrary, but it does serve to alert us in case we
created a Normal texture, but intended it to be a Projection texture (or vice versa).
Figure13.31 shows the result if we go to Create UVs and choose the automatic mapping,
and the companion render is shown in Figure13.32. We see in Figure13.31 that we can
recognize pieces of the Moai. In particular,
the top to bottom length of the right side,
and the top to bottom length of the le side
of the Moai can be seen in the bottom half
in the center of Figure13.31.
Figures13.33 and 13.34 show the cylin-
drical UV mapping, along with its render-
ing. e checkerboard squares are stretched
out and they vary in size, with the ones on
the nose bigger and the ones along the fore-
head smaller. If we look at the top le of
Figure13.33, we see why: the (u, v) grid for
the nose is packed very tightly.
FIGURE 13.28 (See p. CI-15 of Color Insert) A
nal doorknob with new texture mapping.
FIGURE 13.29 Maya’s checkerboard.
FIGURE 13.30 Moai with checkerboard.
The UV Texture Editor ◾ 355
Figures13.35 and 13.36 show the cylindrical mapping, but aer using the UV Editor
(and hitting R to get the Scale tool) and pulling the grid tighter. e resulting render, in
Figure13.36, has more even-sided checkerboard tiles.
ere are still many problems in Figure13.36. e nose has a black cube that is stretched
out top to bottom, and on the right top of the face are some truncated squares. We should not
be surprised at the uneven nature of the checkerboard, because if we look at Figure13.35,
we see that the (u, v) grid is far from being homogeneous in its granularity. But this second
cylindrical mapping is the best. is makes sense, as our Moai started out as a cylinder.
Figure13.37 is a closeup of the neck of the Moai. We see the wraparound point, where the
checkerboard does not line up properly.
FIGURE 13.31 e automatic mapping. FIGURE 13.32 Render—aer automatic mapping.
FIGURE 13.33 Cylindrical mapping.
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