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Creating an unwrap for texturing using Unwrap UVW. Creating a Unwrap for Texturing with Unwrap UVW What makes you interested in polygon modeling?

Greetings to all aspiring modelers! In today's tutorial we will talk about how to make an isometric scan in 3ds Max. This lesson will be especially useful for students who often need sweeps for their academic work.

Using VRay as an example, we will look at how to unfold the walls of a room in two ways: so as to obtain a black and white “contour” scan for a drawing, as well as a color scan with textures and materials.

Creating a color scan

So let's take a scene that we have already used in one of our lessons.

Go to the Top view and install the standard Target camera. To do this, go to the Create – Cameras – Standard – Target tab.

We place the camera in front of the wall that we want to capture in the render. We place it in the middle of the room, do not forget to also lift it from the floor.

I note that if we switch to this camera, we will not see anything except the outer wall of the room. To see the inside, we will use a very useful feature of our standard camera - Clipping. It will help us “cut off” everything that blocks the view. This option is located in the middle of the camera settings rollout.

Check the box next to Clipping Manually and enter the values in the Near and Far Clip boxes (near and far cuts, respectively).

Now, if we switch to the camera view, nothing prevents us from seeing the interior, since we simply cut off the wall closest to us. But such an image is still not suitable for scanning, because it has perspective distortions.

This issue can be resolved very simply. The standard Target Camera has a wonderful Orthographic Projection parameter, the checkbox next to which removes perspective distortions.

By the way, if some area does not fall into the frame, adjust the Target Distance parameter in the camera settings. Don’t forget to turn on the Show Safe Frames option to see the viewport boundaries.

We configure the render parameters in Render – Render Setup, set the size we need. I recommend using them, which I often use in my work.

We render the model and get a good result: wallpaper, furniture - all textures are clearly visible.

Thus, to make a scan in 3D max, we render each wall of the room, copying the camera with ready-made settings.

If you don't need realistic rendering and just want to define textures and colors, you can turn off shadows and reflections to save time.

To do this, go to the render settings. Render – Render Setup, Vray tab. In the Global Switches rollout, uncheck the boxes next to Lights and Shadows. And in the GI tab, Global Illumination scroll, uncheck Enable GI.

If the picture has become too dark or overexposed, then we solve this problem by adjusting the ISO sensitivity. To do this, go to the Rendering – Environment tab, select VRay Exposure Control in the drop-down rollout. Change the ISO parameter that appears; the higher it is, the brighter the image will become.

That's all, nothing complicated, all that remains is to “glue together” the resulting images in a graphics editor.

Creating a flat pattern drawing

Now let's talk about the case when textures are not needed, and the development should look like a regular drawing. The technique for creating it in 3d max is the same as described above. We use the standard Target Camera, cut off all the excess using Clipping and make the camera orthographic.

Then select Rendering – Environment 8) and in the Atmosphere rollout add two effects using the Add button: VraySphereFade and VrayToon.

Having selected VraySphereFade, scroll down the scroll and change the EmptyColor to white.

We render and get such an image. It can be supplemented with dimensions to create a full-fledged, and quite detailed, drawing of an apartment or house.

Podolsk resident Mikhail Paperfreak is 30 years old, he works as a system administrator, and devotes his free time to paper polygonal modeling - assembling three-dimensional models from cardboard and paper. He told RIAMO in Podolsk where unusual 3D models come from, how to assemble them, and why they are used for interior decoration.

- Mikhail, how did you become interested in modeling?

Previously, I worked with metal - I made three-dimensional drawings using deep chemical etching. Before that I was fond of bicycles, but 2.5 years ago my son Evgeniy was born, and I decided that extreme sports were not suitable for me. I had to look for other hobbies.

I have long wanted to start working with paper. This idea appeared when a few years ago I saw masks by British designer Stephen Wintercroft for Halloween and costumed corporate events and parties.

At the beginning of the year, I found and printed out diagrams of parts for my wife Elizabeth, who is currently on maternity leave. I wanted to captivate her, but she was cool about this activity. Then I decided to try it myself. I sat down at the table and got carried away. The next day I printed more and more, then began to choose more complex models. I studied all the nuances - what paper is better to use, what glue to choose, how to optimize the process. It’s good that work helps - I can order the necessary materials at the office warehouse.

- What attracts you to polygonal modeling?

I like paper products that retain texture and structure. When creating models, I select good quality paper and glue the parts together very carefully. It is important for me that sharp angles are visible, since it is with their help that a play of shadows and mysterious images of figures are created that change depending on the lighting. Some paint, putty and plaster models, but because of this, sharp corners are blurred and the play of shadows disappears.

- Tell us about the nuances of your hobby.

Modeling not from one, as in origami, but from several folded sheets of paper is called pepakura. This is also the name of the program in which 3D models and files for printing are created. Pepakura lays out objects into polygonal parts, but you still have to work with them - each part needs to be checked, to make sure that the valves for gluing are in the right direction.

Spatial orientation is very important. It's like you're putting together a three-dimensional puzzle. First you need to take something simpler, then more difficult. Beginners can contact me, I will advise and help. There were thoughts of holding master classes - for example, in Necafe, which is located not far from me. If I get a lot of people willing, I will hold it. One master class is enough to understand the principle.

- What did you manage to achieve?

When I learned how to cut efficiently, well and quickly, I tried to unfold the models myself. I found several free 3D models on websites - an armadillo, the fists of the superhero Hulk. I downloaded them and, using the Pepakura program, organized them into sheets. It takes about a day to create one small, simple scan. You spend 8-9 hours cutting, gluing, cutting again, laying out in different orders, moving the valves - in the end you understand how it all should look.

I can now quickly and accurately, almost blindly, glue models of any complexity. He developed his own method of action. It took about a month to hone my skills. I can assemble one large and complex figure a day, but before I could spend a week on this. I can assemble the same Hulk fists in just a few hours. At the same time I can play with the child. By the way, my son really likes my hobby. I think many of the figures would make a great addition to a nursery.

I have already collected about 40 large models and many small ones. Several products have already found new owners - they were given to someone, they were made to order for someone.

- Can paper modeling generate income?

At this stage I can only charge for materials and physical labor, not for models because they are not mine and I have no right to demand payment for them. Copyright must be respected!

If a person wants a certain model, he can buy a scan, and I will do it. In addition, I have a large selection of paper, which is difficult to buy in individual sheets. I can also do preliminary creasing of the model, which will only need to be glued together. Cutting and pressing is not the most interesting thing.

The “Hulk Fists” model cost 800 rubles. Not long ago I was ordered to develop an elephant, which cost 2,200 rubles, since I first had to assemble a test model. But even if I sell something, all the money goes to buying cardboard and glue, since high-quality materials are expensive.

- Can you change the size of the models at will?

Each model is laid out on a specific paper size. For example, the Triceratops was originally laid out on 50 A4 sheets. You can lay it out on A3, then there will be fewer sheets, and the size of the triceratops will be larger.

Personally, I like big models. If the elephant is made from A4 paper, it will look like a toy, but I want it to look like a decorative element that can be hung on the wall. But some models turn out to be too large - for example, an astronaut, for which it is difficult to find a place. Therefore, it is very important to choose the optimal size every time.

- How widespread is your hobby?

Paper polygonal modeling is not a new hobby; people have been doing it for a long time. It’s just that now a large database of models has appeared, so beginners have a wide choice of what to collect. IN social network VKontakte has several communities for people who are passionate about this hobby - for example, “Selected Waste Paper”, where people post and discuss scans. There are personal groups where masters share their creativity and give useful advice.

In Podolsk, I don’t know any other people who are passionate about paper modeling. To some extent, I am its popularizer: I post my works on my page in Instagram and to the VKontakte group

I struggled for a long time with how to make a floor plan of a room in Max, the information was scattered everywhere, I spent the night trying to figure it out, though not to the very end, but maybe this article will be useful to someone.

1. take a room, hide all light sources and cameras,

2. We put the camera first in the center, and move the focus behind the walls, check the Orthographic Projection checkbox in the settings - this will enable axonometry.

3. We move the camera as we need (the center of the camera is the cutting line), and we also hide what ends up through the figurative line; for example, I got a piece of a sofa. then adjust the image size by the lens size (parameters - lens)

4. We make a test render: this is what happened:

5. Now press the M key and create the VrayLightMtl material.

6. Press F10 and in the Global switches tab, check the box for Override mtl. Now we drag our VrayLightMtl material into the field labeled None. This way we will fill the entire scene with one white color without halftones.

7. go to the render - environment rollout and in the Atmosphere rollout add the VRayToon effect via Add.... The effect settings can be left at default.

8. turn off everything in Global switches, light, default light, hidden light, shadow.

9. turn off the live

10. make a good resolution, because rendering will take seconds

11. test render:

6. The brightness of the picture can be adjusted with a parameter in ray mtl (I set it to 4), this is what happens:

Continuing the topic, I will tell beginners and those interested in how to make a drawing from this picture.
After spending 2 hours using first Shop and then Archicad, and after thinking a little, I decided to do it in Archicad and do it like this:
1. Let’s say we have a 640 by 480 image. We will use it in code (I use archcade).
A problem arises with a mismatch of scale (size of objects). In order to bring it into line, we will use the proportion from the school mathematics course.
2. Load the image into Archicad as an external drawing.
3. We take any object whose dimensions are known, I took the size of the wall, so the error is smaller, the size is 3050 mm.
4. we measure the same wall, but already in Archidad, for example with a ruler (only very precisely) in Archidad I got 19928 mm
4. go to the settings of the external drawing and look at the size of the picture there: the width of the picture is 33867 mm.
5. From a school mathematics course we make a proportion: if the picture size is 33867, our wall is 19928, how big should the picture be if the wall size is 3050...?
6. the equation is 33867*3050/19928=x; x= 5183
7. insert this number into the width of the drawing, click ok and measure the same wall again: lo and behold, it turned out to be 3050 mm

Note: make pictures at max good resolution(at the same time, adjust the thickness of the stroke lines along the edges in vrei tuun), take careful measurements
and then it will be quite decent.

sorry for the clumsy text, the writer in me has not yet awakened

Since the basics are the basics in Africa, you can apply the principles of working with UV mapping, gleaned from this article, when working in other 3D editors. The only difference will be in the names of the buttons and tools.

The author of this article is a respected 3D modeler of equipment in 3ds Max - Alexander Barsukov, also known under the nickname DesertBull. So I am publishing the article as is.

It is very important for a modeler to know mapping. Without this knowledge, he will not be able to work seriously with textures. It will not be able to make models ergonomic and make full use of resources effectively. Without this knowledge, the modeler will never make a well-textured model, for which the correct layout of texture coordinates will be very important.

Mapping is a simple cutting of a model. All our models consist of a mesh of polygons. Essentially, when doing mapping, we conditionally divide our model into separate parts that will help us “stretch” the texture as accurately and without stretching as possible.

Working with the mapping modifier is very simple. If you don’t know how to work with it yet, then make it priority number one in the queue for learning, otherwise you are not a full-fledged specialist.

Many people work with the UVW Map modifier. I'm working with the UVW Unwrap modifier. Why? Because this is absolutely the same modifier, only with a bunch of additional features. I strongly recommend working through Unwrap.

So let's get started.

We have a simple model.

The first thing we do is assign a checker. This is the default texture, it is used by default to check the correctness of the mapping. If the model does not display squares, it means the model requires adjustments in mapping.

When assigning a material, the texture may not be displayed. This button solves everything))

Result after clicking the Show Shaded Material in Viewport button:

I personally don’t find it convenient to work with a checker if it displays 1-2 squares per side. That's why I always use larger tiling.

As we can see, on some sides the squares are not displayed normally - there are stretches - a sure sign of incorrect mapping.

Here is the main window for working with mapping. Now there is confusion - and this is not surprising. The program does mapping automatically when creating simple primitives, but over time, after you work on them, complicating the mesh, the basic mapping is broken.

The texture display area is outlined in red. As a rule, in 3D it is customary to work with textures with equal sides or according to the rule: if one side is A and the other is B, then the size of the texture can be A=B or 2A=B or 4A=B and so on or vice versa. The main dimensions of the sides are multiples of 2: 512.1024, 2048, 4096, etc. Why is that? As far as I know, at least in the gaming industry, this is the most effective and digestible size. [more precisely, the texture side size should be a multiple of a power of two (2, 4, 8, 16, 32, 64, 128, 256, 512, etc.) - this is due to the fact that game engines and compression algorithms /working with images works most effectively with these sizes. Those. then a minimum of memory is used: disk, RAM and video. This means that calculations performed with such images will be faster. Yes, you can use a 513x512 texture, but because of this one pixel its size will be twice as large as 512x512 - blog author's note]

No one will beat you with a stick if you have a texture of 314 by 745, but for me, as a person who has studied the topic, this will be an indicator of a lack of knowledge. Cases using non-square textures are not so common. I'm talking now using the example of a square texture.

Over time, you will understand that for a certain model structure you can select a certain type of mapping. Now, using a simple form, I show an example of the simplest and most common method.

Select the entire model (in the modifier properties, uncheck “Ignore back part”) and click Flatten mapping in the mapping window.

We see that the program has automatically decomposed our model into separate logical (for the program) pieces.

There's no need to get excited and start working on the texture right away - we still have a lot of work to do.

So - let's see. In the main viewport, a bunch of green lines are displayed on the model. These are seams that show where individual pieces of mapping end. The green lines are duplicated in the same way in the mapping window. Often, specialists strive to keep these seams as small as possible. Ideally, their presence is not desirable at all. This means that we need to sew the resulting pieces together.

In the mapping window I selected one edge:

Right-click on it (RMB) and select stitch (stick). [for me it’s more convenient to do this through a hotkey, which I assign myself to each command that I use quite often. - blog author's note]

The part that comes into contact with this edge on the model will automatically stick to the selected edge:

As a result, through this operation we get such a cutting. As you can see, there are significantly fewer green lines on the model)

If we look closely at the joints, we will see that the green lines have disappeared in the place where we “stitched”, but did not disappear on the neighboring edges that were in contact with the initially selected edge.

It is advisable to correct such things immediately. There are two ways:

Stitch over them too.
Go to point mode, select the required vertexes and start (via the RMB menu)

So, we have a more or less comfortable layout of the model.

But... we have a square texture, and for a square such a layout is not effective (in this case, most of the texture will be wasted, eating up system resources that we need so much). Therefore, for the sake of compactness, we will shred the model a little and redo our mapping.

The first thing you do is identify identical parts. For example, here the top and bottom of the model are absolutely identical. If so, then it makes no sense for us to use different textures for both elements. So, we'll just separate one of the repeating elements and overlay it on its twin brother.

In this case, the function of mirroring and/or rotating the part is often required.

Mirror and rotate the cut UV piece:

Our mapping is still not effective. The texture is very narrow and long. Of course, we can make a rectangular texture, but in our case this goes against the original goal - to make a square texture.

I selected the cylinder polygons in the main viewport and separated them from the part in the mapping. We received two halves of the side of the cylinder.

I select one extreme edge on one of the halves and we see that on the second the other edge is highlighted in blue. The program shows which edge we will now connect to which part.

Now there is something similar to high-quality mapping. Drag our mapping from the gray background to the checker square in the mapping window. [this square indicates the boundaries of the texture. In fact, there is texture outside this square, but it repeats the texture inside the square. This is quite an interesting feature and I wrote a separate note about it - blog author’s note]

Our mapping should not go beyond its boundaries. If necessary, scale (via CTRL) the ENTIRE (!!!) mapping at the same time. It is highly undesirable to scale the parts separately, since now we are mapping all the parts to a single, identical scale. Which means that throughout our model the texture will be displayed with the same quality.

If necessary, you can safely swap parts, twist them, etc. for denser “packing”.

This is what happened to me

The final touch will be an action that I call “texporter” (based on the program of the same name))) This action is necessary to remove the mapping map for further work with it in Photoshop (Photoshop FS) directly above the texture.

Below is shown what settings should be and where to click OK) For ease of working with the texporter, I usually set the resolution higher - then the mapping lines are thin, neat and accurate, which is very comfortable when working with them in FS.

After clicking the "Render UV Template" button, we see the mapping map, save it in a convenient graphic format and then open it in FS with the layer property "Screen" (it will not be visible if the main background of the FS file is white).