During class I have discovered that it would be far more practical to utilise a different grid pattern on my model (Autodesk Inc, 2016). This is because it would be suitable as we will need to view direction.
We have been supplied with a generic grid pattern that is commonly used. The specific grid supplied uses colours and numbers to display how the texture will wrap. It helps to indicate what direction parts of the texture are facing and relation of different areas of the texture to each other. It shows direction because of the way numbers appear. Their orientation and which way they are facing makes spotting issues a lot easier.
I have areas which I have managed to fix simply because I can now see the nature of a warping issue. After being introduced to several tools, mostly in the arrange elements section of the UV editor, I have experimented. As I had been told far before I had started UV mapping, a lot of the process is tweaking and moving and adjusting until the mapping is correct. I have learnt in class also that apart from wrong direction I must bear in mind mirroring on the two symmetrical sides of the treasure chest model.
I have been using the rotate tool to arrange the UVs to face the correct direction. I have also managed to use the break and relax tool along with the pack tools to get the right option. The padding has then been reduced, this is to ensure that the gaps between uvs are minimal. This has been changed from 0.2 to 0.01. rescale has been selected and I have also learnt that when necessary to weld pieces together, the threshold is the amount of space that the weld tool will span to, for example if set to 0.01, this very small gap is the range that any other piece must be within to be successfully welded.
I have also used the shrink and grow selection to fit my UV within the required space. All pieces must within this checkered square, with the entire texture being represented by this square.
Sometimes at this process stitching pieces together is necessary for easy location of parts of the model during the texturing phase. It is not always necessary but sometimes makes reading the flattened 2D version of a model easier.
It is at this point I have rendered my UVs. I have been instructed however to re-render my UVs as half of my model, to ensure a higher level of efficiency when texturing.
This re-render was done with assistance and involved cutting my model in half, ensuring that the centre of the cut line was exactly on the 0,0 point of the grid in model space. After rendering my UVs, the two halves were then reattached with the attach button. It is important to note that it is at this point that extra edges have to be eliminated, which can be checked by toggling wire frame (F3) and must be deleted properly, not with backspace.
It has been the UV mapping which up until this point in the process has been the hardest to understand. Despite understanding enough to accomplish UV renders, I feel that the created UVs have been done so tentatively and with less precision than ideal. It is at this point I can move onto the next step in the production process as my renders are suitable and have been green lit for texturing.
figure 1. Treasure chest model UV mapping completion lid.Production pipeline. (Wyld,2016).
figure 2. Treasure chest model UV mapping completion model. Production pipeline. (Wyld, 2016).
figure 3. UV editor. Production pipeline. (Wyld,2016).
figure 4. Rendering UV template. Production pipeline. (Wyld, 2016).
Inc, A. (2016). 3d Modelling & rendering software. Retrieved April 7, 2016, from http://www.autodesk.com.au/products/3ds-max/overview