Despite my truest of efforts, successfully UV mapping an object has eluded me. I thought I made a breakthrough today after learning how to separate different parts of an object into UV islands, only to have the resulting checkerboard texture reveal that the result was pretty bad.
I feel like I’ve watched so many thorough tutorials and read a lot of useful documentation on this subject, yet, I’m still unable to grasp what I feel like is that “missing piece”.
I’ve attached a project file of an object I’ve been trying to get UVd correctly in hopes that someone would be willing to walk me through whatever steps or concepts it is that I seem to be lacking.
This is the one area of 3D that has been the most frustrating and perplexing to learn. I believe in myself and my ability to learn, yet, this portion of design makes me feel like I’m only operating with a quarter of a brain.
Hats are also created out of felt, whereby steam is used to shape it in any form. Which means the texture would look different, but since felt has no real indicator where it was stretched a little bit, we would assume an even distribution of texture. Given a checkerboard pattern, this would be difficult to keep un-distorted.
Let me know what your ideas are, I’m happy to look into it.
First, thank you immensely for taking a look at my project file and making the augmentations you did. Your result is definitely much cleaner than what I had achieved previously.
In comparing the UV edits, it looks like the main major change that’s present is the top piece in the UV editor, I’m curious as to what steps you took to achieve that result as the resulting grid spacing you achieved is consistent around the band, as opposed to what I had created previously.
Again, thank you for your time and dedication to the members of Cinversity!
Actually, I’m curious about the whole process, to be honest. Not just the aspect of the UV mapping that I mentioned in my previous post. I recognize the sheer necessity of understanding UV mapping, though, I seem unable to grasp even the more rudimentary concepts and methods concerning it.
I will prepare a file, that I generally use during Hands-On classes, and that little drill takes on an average a few minutes but hasn’t failed so far to get the “mechanic” of UV. It doesn’t provide the knowledge of all the tools, of course, but that would be a one or two day course to really bring home.
For the textures, we have U, V, W. (Mostly UV, when we talk about textures, UVW when 3D shader are in use)
Simplified: The same points, different names.
The main idea is, UV is a representation of the polygons of the object, peeled like an orange peel, and flattened out. Think of a four-sided object polygon as the surface that should receive a section of the image (texture), the UV polygon is then like a frame on that texture, to specify what do you want from that image to be on your model. This is all. Anything else are management tools to get a particular result for any framing. The framing of uncounted frames; sometimes, there is the challenge.
Here are some tutorials to check out. I have no idea where it clicks, and you got it, but just let them run and enjoy:
This might be very basic, but it had worked so far in any class over the past decade when UV was requested to learn. Typically I use the companies logo to create, here of course I use the C!
Again, I know it looks simple, but it helps to establish the wires in the brain between the parts.
As usual, I don’t like to show off tricks, I want to share information, so the base is given to really grow.
As I get not tired to say, the expression “I know that” is the biggest stopper in pretty much anything. So, I hope I have cleaned out any resistance.