The following describes how I setup the UV’s for my model in order to paint the textures.
Step 1: make a duplicate of your model. This is important so you don’t mess up any of your original model. Later you can transfer the UV’s from this duplicate back onto your original.
Step 2: On the duplicate, select the areas that are the most complex (ie. nose, ears, eye area, lips). (you probably will want to do this step one area at a time).
Step 3: now you’ll want to average your selected vertices. You can get to this command through the Polygons>Average Vertices>options menu.
Set the Iteration value to whichever you feel is appropriate. I set mine between 10 and 50 and applied it a couple times. Repeat this step for all of your complex areas on your model. The reason for averaging the vertices is to make the more complex areas of your model less complex, so after you apply the Cylindrical projection, you won’t get so many (if any) overlayed UV’s, which will cause problems for your mapping.
When you’re finished with that, your duplicate should look something like the images on the right. As you can see, all the more complex areas of my model are now less complex and more planar, which should make a better cylindrical projection and UV layout.
Step 4: Now you’re ready to map the UV’s for your model. Select your duplicate model and go to the Edit Polygons>Textures>Cylindrical Mapping>options menu. I just used the Smart Fit option which fits the projection automatically around your selection. You’re welcome to play around with the different options, but for this instance, these are the settings I used.
Step 5: In the attribute editor for the cylindrical projection, you’ll find the following options (right image). Make sure you set the Rotate Z value to 0.1. Maya has this weird habit of messing up the UV’s of the cylindrical projection, and this seems to fix the problem. These are the settings I used.
Step 6: I also noticed that the UV’s for the top of the head and the UV’s for the neck area were garbled
from the Cylindrical projection, so I selected the poly’s on the top of the head, and did a planar projection for those, and selected the poly’s around the neck and did a second Cylindrical projection for those.
So I ended up with 3 UV shells in the UV Texture Editor, which I’ll need to sew together to get one unwrapped UV shell
Hello, this is Taehoon oh, I’m a senior artist working for one of the best game developing companies in California, US, and this is my private work, Rhino and Terminators.
I’m a big fan of the Warhammer 40k series, but I’m more interested in the concept and painting, I’m not that good at tactical stuff.
I spent more than six months on this project. I mostly used Maya for the modelling and rendered with Mental ray. So now I would like to share with you all about how it was created. I’ ll explain with 3 different parts, making the model, textures and composing the scene.
Concept & Reference
I found most of my reference from magazines and the Internet. I discovered that there are many different styles and colors of Rhino tank, but I chose the Ultramarine blue color and the simplest shape for modeling. For the character I chose the Terminators like you can see below. The main reason why is that I thought this character is the coolest from Warhammer 40k series. However, it wasn’t easy to define the head shape in 3D.
Reference for the Rhino’s
Reference for the Rhino’s
I started polygon modelling from the side tracing and extruding. I used Boolean tool often, even though I don’t trust the Maya one but it worked fine.
The armor was the most exciting part to model. I created simple shapes, like cylinders, tubes, boxes and even hexagons as a modelling tool. Even these simple default poly models have UV maps too. So I could change the scale and placed them wherever I wanted.
I have mostly used Maya’s smooth proxy modelling tool. I learned to use this CPS tool a long time ago and now I just love to use it. This time, the smooth proxy modelling tool was really helpful for making nice curved shapes for the armor and the skull.
The Terminator’s Head
The head of terminator was a really fun part for me. I didn’t use many polygons when making it so it’s very economical. The head is a little different from the original one, I like the more stylized and cartoon looking one, so I made the shape more round and cute.
I wanted to push myself on how far I could go, so I decided to build a piece capable to make an art statement; I didn’t want to feel that it was just another 3D model.
Being an automobile nut, I, like some of you, have had the idea of building a car from the first to the last bolt. I find out that for this task a good set of blueprints is never enough. I spent around a week collecting photographs before the beginning of the modeling process, and I was still collecting references at the end of the texturing and rendering steps.
My first advice to you will be, if you are trying to make a model above average, start with planes, boats or cars that had been restored. You will easily find part catalogues, illustrations, schemes and diagrams of objects with historic meaning. I made a quick selection of some of the GT-40 pictures I found during my research (Fig. 01).
I usually try as much as possible to start from spline cages. It comes very handy to have a tridimensional blueprint of your model; it will guide you making decisions about size, position, and where your components should be organized, even before you model the shell.
Later on, you can use the spline curves to loft panels that will be the base mesh of your car body.
Once I had my cage done, I started modeling the chassis using photo references (Fig. 02).
The next step was modeling all the components that have direct relationship with the chassis.
I always started creating primitives to establish rotation and proportions, and then I went in detail using pictures. Here once more I used techniques like nurbs revolves, lofts and extrusions than later on turned into polygons.
Finally, I used lattice and nonlinear deformers to achieve the desired shapes (Fig. 03, Fig. 04, Fig. 05).