Using the Smart UV Project tool
by Enrico Valenza, Pierre-Armand Nicq, Romain Caudron
Blender 3D: Designing Objects
- Blender 3D: Designing Objects
- Table of Contents
- Blender 3D: Designing Objects
- Blender 3D: Designing Objects
- Credits
- Preface
- 1. Module 1
- 1. Straight into Blender!
- 2. Robot Toy – Modeling of an Object
- Let's start the modeling of our robot toy
- Using the basic modeling tools
- Modeling the head
- Modeling the antenna
- An introduction to the Subdivision Surface modifier
- Modeling the thunderbolts
- Modeling the eyes
- Modeling the chest
- Modeling the neck
- Modeling the torso
- Modeling the buttons
- Modeling the fork
- Modeling the main wheel
- Modeling the arm
- Using Blender Internal to render our Robot Toy
- Summary
- 3. Alien Character – Base Mesh Creation and Sculpting
- 4. Alien Character – Creating a Proper Topology and Transferring the Sculpt Details
- 5. Haunted House – Modeling of the Scene
- 6. Haunted House – Putting Colors on It
- 7. Haunted House – Adding Materials and Lights in Cycles
- 8. Rat Cowboy – Learning To Rig a Character for Animation
- 9. Rat Cowboy – Animate a Full Sequence
- 10. Rat Cowboy – Rendering, Compositing, and Editing
- 2. Module 2
- 1. Modeling the Character's Base Mesh
- 2. Sculpting the Character's Base Mesh
- 3. Polygonal Modeling of the Character's Accessories
- 4. Re-topology of the High Resolution Sculpted Character's Mesh
- 5. Unwrapping the Low Resolution Mesh
- 6. Rigging the Low Resolution Mesh
- Introduction
- Building the character's Armature from scratch
- Perfecting the Armature to also function as a rig for the Armor
- Building the character's Armature through the Human Meta-Rig
- Building the animation controls and the Inverse Kinematic
- Generating the character's Armature by using the Rigify add-on
- 7. Skinning the Low Resolution Mesh
- 8. Finalizing the Model
- 9. Animating the Character
- 10. Creating the Textures
- Introduction
- Making a tileable scales image in Blender Internal
- Preparing the model to use the UDIM UV tiles
- Baking the tileable scales texture into the UV tiles
- Painting to fix the seams and to modify the baked scales image maps
- Painting the color maps in Blender Internal
- Painting the color maps in Cycles
- 11. Refining the Textures
- 12. Creating the Materials in Cycles
- 13. Creating the Materials in Blender Internal
- 14. Lighting, Rendering, and a Little Bit of Compositing
- 3. Module 3
- 1. Overview of Materials in Cycles
- 2. Managing Cycles Materials
- 3. Creating Natural Materials in Cycles
- Introduction
- Creating a rock material using image maps
- Creating a rock material using procedural textures
- Creating a sand material using procedural textures
- Creating a simple ground material using procedural textures
- Creating a snow material using procedural textures
- Creating an ice material using procedural textures
- 4. Creating Man-made Materials in Cycles
- Introduction
- Creating a generic plastic material
- Creating a Bakelite material
- Creating an expanded polystyrene material
- Creating a clear (glassy) polystyrene material
- Creating a rubber material
- Creating an antique bronze material with procedurals
- Creating a multipurpose metal node group
- Creating a rusty metal material with procedurals
- Creating a wood material with procedurals
- 5. Creating Complex Natural Materials in Cycles
- 6. Creating More Complex Man-made Materials
- 7. Subsurface Scattering in Cycles
- Introduction
- Using the Subsurface Scattering shader node
- Simulating Subsurface Scattering in Cycles using the Translucent shader
- Simulating Subsurface Scattering in Cycles using the Vertex Color tool
- Simulating Subsurface Scattering in Cycles using the Ray Length output in the Light Path node
- Creating a fake Subsurface Scattering node group
- 8. Creating Organic Materials
- Introduction
- Creating an organic-looking shader with procedurals
- Creating a wasp-like chitin material with procedural textures
- Creating a beetle-like chitin material with procedural textures
- Creating tree shaders – the bark
- Creating tree shaders – the leaves
- Creating a layered human skin material in Cycles
- Creating fur and hair
- Creating a gray alien skin material with procedurals
- 9. Special Materials
- Bibliography
- Index
Now, we are going to use a much easier and faster method to do the unwrapping of the Armor: the Smart UV Project tool.
The first thing to do is to prepare the armor pieces for the unwrap process, so perform the following steps:
- Starting from the last
Gidiosaurus_unwrap.blendfile you saved, click on the 13th scene layer to reveal the armor and at the same time, hide the Gidiosaurus_lowres object. - Go to the Outliner and select the first item, the Breastplate; then, use Shift to multiselect all the other visible objects.
- Press Ctrl + J to join them into a single object, and then in the Outliner, rename the result as
Armor. - Go to the Object Modifiers window and expand the Mirror modifier subpanel; be sure that the Clipping item is activated and click on the Apply button:
The Armor as a single object and the Mirror modifier
Here is the unwrap process:
- Press Tab to go into Edit Mode and press the A key to select all the vertices of the Armor.
- With the mouse cursor in the 3D view, press the U key, and in the UV Mapping pop-up menu that just appeared, select the second item from the top, Smart UV Project.
- A second pop-up appears with some options that you can leave as they are, besides Angle Limit (the maximum angle in the mesh used by the tool to separate the islands), which by default is set to 66.00; raise it to the maximum, which is 89.00, and then click on the big OK button:
The Smart UV Project tool
The mesh has been divided into several smaller unwrapped parts and is automatically packed inside the U0/V0 UV tile.
- Select all the islands in the UV/Image Editor window, click on the small double-arrow icon on the toolbar, close to the New and Open buttons, and select the Untitled.001 image (the same grid image we used for the Gidiosaurus unwrap).
- Press Tab to go out of Edit Mode:
The unwrapped Armor
Considering the amount of tiny islands that the tool created, it's better to separate the big armor parts (basically, the plates) from the smaller ones (belts, borders, and so on) and re-unwrap them with the Smart UV Project tool, as we did for the Gidiosaurus body in the previous recipe; then, place them into two adjacent tiles:
The Armor islands inside the U0/V0 and U1/V0 tiles
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