Cineversity

Hi.
I’m mapping a texture to a new grill. This particular grill wraps around the mesh, but you can see the seams? Not sure how to fix it. Tried several mapping methods that haven’t fixed it. The grill needs to have around 20 holes altogether wrapping around the contour. Thanks

http://joelhebert.com/wp-content/uploads/2012/04/Joel-Hebert-Grill-fix.zip

http://joelhebert.com/wp-content/uploads/2012/04/Screen-shot-2012-04-13-at-12.28.06-PM.png

Joel H.

Hi Joel H.,

This is a typical case for UV editing, as the texture is based on a rectangular structure (even with the 2nd row offset) and the object is a more organic shape.

First:
Switch off HyperNURBS for that work, as well the Symmetry Object. Check the HyperNURBS influence from time to time. Remove the N-Gon.

Second:
This needs some fine-tuning of the UV mesh in the UV editor. Currently the “hole” texture is set to cubic, which comes close. So “Object Manager> Tags> Generate UVW Coordinates” and make the new UVW tag for the work.

Go to the UV Editor and pull the edges so they do not cut into the holes and so they are straight around the body.

All the best

Sassi

Dr. Sassi,
I followed you up to this point:
“Go to the UV Editor and pull the edges so they do not cut into the holes and so they are straight around the body”?

Not sure how to complete this step.
http://joelhebert.com/wp-content/uploads/2012/04/1.png
Thanks
Joel H.

Hi Joel H.,

Certainly some work to be honest, as I guess you go for a perfect result.

The mesh needs to laid out like a T in your case, there are two seams (vertically on the edges) that I would split to get the T shape of the UV mesh. Bring the parts together, selecting and move, as well ratite and scale.

The border points of the current Islands need to match.

If that is done, the UV mesh needs to be adapt to the texture.  Then the split edges (the two I mentioned above) will need quite some attention.

It would be useful to see the “Original Grill”.

The low res mesh makes the work fast, but the HyperNURBS will request some iterations…

All the best

Sassi

oh ok. heres the original grill Im trying to recreate.
http://joelhebert.com/wp-content/uploads/2012/04/mesh.png

Thanks
Joel H

Hey Joel H.,

To be honest, I get only a very limited impression from it. The edges are the most interesting part to me, to be able to help. I can’t really see those.

All the best

Sassi

Is there a tutorial on cineversity you can point me too on moving the UV stitches around? Thats the part Im stuck on. Thanks

Joel H.

Hi Joel H.,

Tutorials can explain the tools, but not every possible problem. In you project, the hole structure is not able to have a fit when two sides folder together. The structure is not the same when orating around 90º. There might be a problem. I have done a while ago a complete series about UV and BodyPaint 3D, but the interface has changed since.

Start with a cube, six polygons and explore what happens if you move points of the UV mesh in the UV editor. It needs maybe 5-10 minutes to sink in.

——-

The UVs are just translators between Object and textures, to be able to get a 2d image on a 3d object.

Each UV polygon has normally its Polygon “Twin”. What ever is texture is “framed” by the UV polygon with be “mapped” on the Object Polygon.

In UV Edit you have to chose a texture (right sided window) and an UV “mesh” the icons on the top are there to select a point of polygon.

I use the Space bar a lot to toggle between selection and move tool.

Another big help is normally the snap tool for UVs

I have attached the T shape as mentioned above, but of course I can’t finalize it, time wise, I can give you only a start, check it out.

If done, use the Symmetry below first and make it editable, optimize and then use the HyperNURBS. The roundish sides, I would use camera mapping for that and design a hole pattern for this part separately.

Your image seemed like a tin with holes pressed into shape, which mesh all holes have been treaded more ore less. That might be only possible to “paint/draw” on it, I have no idea how to accurately simulated that, if you ask for high end precision. If more or less just squeezed, UV will do the trick, but maybe not with a rough polygon object as yours currently. May on subdivision more, might work.

All the best

Sassi

Dr. Sassi,

Top Part:
I was able to play around and move the UV coordinates with the point selection tool and make the texture mapped to about 95% of what I need. I’ll probably have to revisit the part of it I don’t like later.
http://joelhebert.com/wp-content/uploads/2012/04/top.jpg

Bottom Part:
I’m assuming the same technique can be used for this piece. Although, When I make the initial UV texture map, it is really out of line. I’m not sure how you were able to initially build the T texture you were referring to?
http://joelhebert.com/wp-content/uploads/2012/04/bottom.png

Scene File:
http://joelhebert.com/wp-content/uploads/2012/04/joel-hebert-bottom.zip

Thanks
Joel H.

Hey Joel H.,

Try this, maybe on a sphere, and you have more luck sorting things out.

Select some polygons from an object, then click on the texture tag and select e.g. Flat as projection. Switch into Texture Mode, to see the yellow grid. Move it so the selected polygons face the grid parallel.

Then got the Object Manager and use Tag>Assign UV Coordinates. This turns for the selected area all “Flat Projected” polygons into UVW mapped Polygons. (In BodyPaint this is then called Interactive mapping)

In this way you group and organize your projection in a very simple way.

I did this to get the parts flat laid out. Then I moved them close to each other, enabled (UV) snapping and pulled point by point to its neighbor. In this way I was able to get the T shape done. There is one option “Line Up UV” which creates a straight line out of all selected points, very helpful.

If this is done, I would normally do one sub division to limit the stretch from the HyperNURBS a little bit.

If you do a real tin hole work in that way, the holes can’t stay neatly in that pattern either, there might be always a deformation. But you can project (e.g. Camera project) on some parts or paint directly on it in Body Paint 3D, with a pattern, dot by dot.

It is certainly one of the most difficult texture work, to have a structural pattern used on an organic object and try to avoid distortion of the texture. This is certainly manual work and it needs patience. To know the UV tools helps hugely to get this done.

All the best
Sassi