Welcome to Smart's Yuri Projekt in this video you'll understand some more about unwrapping by the end
you'll be able to unwrap more complex models and realize that this is a great starting point for a lot
of meshes and see that it gives a basic unwrap that we can work with straight away.
And that is really important at this point in our modelling we don't want to spend ages doing any modelling
until we know what we're going to end up with at the end.
And we also don't spend ages unwrapping things because the moment we change our mesh we'll need to re
unwrap and optimize anyway.
So just a few points on why we need to unwrap.
So a reminder here that a UV map is a projection of the 3D mesh to a 2D space so that often accompanies
with a lot of distortion as well especially with all gammick models.
And we'll work on optimizing those maps later on.
Now whilst unwrapping is actually necessary in order to project an image onto a three dimensional surface
we can let blend guess how to unwrap our model.
Now unwrapping gives us control over how your model is mapped in to these space and obviously letting
blender guess how that works can end up horribly horribly wrong or it might just be the perfect unwrap.
Following on from that it is essential when using assets outside of blender.
If you haven't performed any unwraps then someone outside of Blender's not going to be able to reconstruct
your model.
It's also essential in blender when using textures so that blender knows where to apply them properly.
It is necessary if you want full control over how something is looking and just a quick example before
we hop into a blender.
This is one way in order to unwrap a cube so we can see their 3D object is becoming two dimensional
it's becoming flat.
Now that is just one way to unwrap a cube.
So long as the faces of the 3D object now lie on a 2D plane it doesn't matter how it's unwrapped.
Apart from the point that it unrra if it's unwrapped in an in an awkward way it will be awkward and
a nightmare to work with later but will go into more about optimizing the maps and how to actually unwrap
later on.
So let's go hop over into blender and play with the Smart you reproject.
Okay so we're over in a default scene in blender.
I'm just going to change my propertys panel here to a U.S. image editor so I can see the u v as it's
produced.
Now let's just recap if we hop into edit mode and unwrap our model by pressing you.
We can just click unwrap.
And that applies each face in its entirety to our entire image it lies underneath.
And that in most cases is going to be unsuitable.
There are occasions when that might be suitable and that's if we've got a repeating texture here that
repeats all over our particular model.
Perhaps it's a bump map to make it look slightly bumpy in which case that might be an appropriate way
of getting it there providing it doesn't cause any graphical artefacts that might be one thing you could
do very quick to a map like that.
So some one way of unwrapping a cubic can be unwrapped into that sort of cross shape.
But if we unwrap a new smart e.v. Project which is the second option down there it gives us a series
of options.
ANGLE limit Island marking an area weights and a tick in the correct box.
Now for the moment we're going to forget that it has those options there and literally go ahead and
click okay.
Now we can see in the movie image editor here that the unwrap is not quite like you would expect it
to be because you can't fold the shape back up into that cube.
Now if we go in to face select and go start you know start polling these these actual faces and seeing
where they exist.
We can see those two faces there like next to one another.
But this one here is diagonally opposite.
So that would cause some problems if we had a line running over the top of this cube from minus X.
Positive x as it goes over the top there.
You'd have a problem because the u v image here would be very difficult to make it start in one place
and then continue over here imagining there's an image underneath and that will be very confusing to
work with.
So that wouldn't be a great.
You ve unwrap for this particular cube.
Something like the cross we saw earlier would be better.
So let's go try this now.
Over on our door some going to go ahead and open up the door that we've been working on and now hop.
The 3D view so I can see what's going on.
Now I can see here that we haven't quite nailed down every other bits yet have made our fall elodie
level be.
But let's leave that for the moment and hide everything else.
But the A.
Let's work on a more complex shape than our wall but nothing too complex at the moment.
Somewhere to hide everything else from the scene.
I could have also selected it and press shift H.
I'll just do that now to make sure everything else is hidden and I'm going to open up a UV image editor
as well so we can see what's going on.
Now once that's open let's first of all just try what we've done before which is selecting everything
in edit mode and then just unwrapping.
Then we need something here it's currently stuck on render results.
So let's close the render result down and we've got this.
Now I have no idea how our brick text is going to map to that.
So let's go ahead and open up the brick texture that we've used before the cinderblock and apply material
to our object.
Gone are anteriorly in our scene at the moment and I'm gonna call this wall door and the colour of that
is going to be the image texture and because it's loaded into memory we can click on it from the drop
up.
There is not a drop down.
So now we've got vats in the scene.
What we should be able to do is hop over to rendered mode to turn my son back on so I can at least see
it properly.
Oh well well well that's not that's not looking too good is it.
Dunno if you are going for that effect yet.
It might be perfect for you but here looks an absolute mess.
That's not how we want it laid out at all.
However smart you project might be able to get us part of the way there or even all of the way there.
So I'm going to select all of my model make in edit mode and unwrap that to reset the unwrap and then
I'm going to use smart CV projects.
I'm going to leave the default settings and click okay okay but starting to look better.
But I can see straightaway that if a whole face is only mapped to around a quarter of this image the
bricks are probably going to be quite large.
So let's go ahead and go to rended married or indeed we can go to textured mode as well.
Down here we can go to the material mode and well that is it's getting there isn't it.
The U.S. smart project has helped quite a lot here.
So we need to select everything again and see if we can scale this up so it fits properly.
Now at the moment if we go and scale it scaling around an arbitrary point and that is going to make
it very difficult to actually work out how big it's supposed to be unless we've got some sort of guidance
on the model itself.
So in this case what we can do instead is use some of the very similar methods we've used in the 3D
editor.
But this time in the U.S. image editor.
So we've got a series of selection methods on along the header bar at the bottom and you can also gain
access to them with control and Tab much like you can over on the 3d editing where you can select the
edge vertices and faces.
So over here we've got a fourth option we got virtex Edge and face in Island.
Now I don't think we've got any islands in here.
Oh yes we do it has separated them out into individual islands.
So what we can do here just to demonstrate whilst we're here is we can scale something under a scale
and by something I can scale it back up by some scaled it by half.
That must be the other side of the wall.
And look we've got even bigger textures there.
So that demonstrates how you can use different parts of your model slightly differently and map them
onto an image completely differently even though you're not changing any of the model itself you're
just changing the mapping of the model.
I'm going to undo that rather than scaling it back up to this time select everything.
Now I want to scale it but I want to really scale it around a point in the corner.
So I got a bit of guidance over the size that I'm making this huge.
Unwrap I'm going to select.
Oh I don't want the island selects how one vertex going to select this of a takes in the corner.
Now just to let you know I am fully aware that the 2D cursor that we're about to move is already in
a corner and we could utilize that Botswana to show you guys how to move that to the cursor and how
similar it is to when working in 3-d.
Ed I'm now going to you shift an S to move the cursor to selected so much light we can move the 3-d
cursor we can also move the 2d cursor.
Finally if we set the pivot points when we've got everything selected ours the pivot point down here
next to a view to the 2d cursor.
Now when we scale we will be scaling up from that 2D cursor which made it a lot easier to fill the image
up.
Now that is looking pretty good.
Apart from.
No no.
That is I'm not sure they're all there.
I'm going to leave it there for the moment Michael's make minor adjustments later.
Now some of you will be aware that this is obviously upside down.
Does that matter.
Probably not with this brick texture.
It may matter when we start tesselated it with other wall pieces but also at the same time the scaling
might be slightly off as well so that something would have to standardize and check against the other
models as well.
So there we have this now unwrapped starting from a smart you reproject we've got ourselves almost there
then we've scaled it up so it fits properly.
And if we have a quick look around our model Now lets us have a look of as anything else we need to
do.
So the sides line up reasonably well.
How about the arch way.
Can we get a look inside the arch.
Well yes that's also lined up reasonably well.
I'm quite impressed how quickly and easily this smart uni project has actually worked without causing
some major problems which sometimes it can when your model gets more and more complex.
Okay so now we've gone over the Smarts you've reproject feature I'd like you to try out this challenge.
I would like you to go ahead and use smart TV projects.
So try it out on your window model and map a texture to your window show your work in the discussions
pause video now and give that a go.
Okay guys.
Welcome back.
Let's go you smart Eevee projects to project our blockwork texture onto our window.
Okay so let's go and try out the same thing on our window.
Is it in my quick select.
No it's not so let's go ahead and open it up window.
There we go.
So this is going to be very similar to the door apart from it's not a a join at the bottom so I'm going
to select everything and let's have the U.S. image editor already open so I can monitor how things are
going.
Yuri image editor.
Okay so I'm going to selects everything in edit mode and use smart use projecting click.
Our Alice stuck Orenda results I'm just going to undo that and similar to that arch.
It looks like we've got a pretty good unwrapped to start with.
Now I'm going to straightaway highlight all of this and rotate it by one a T on the y axis.
No it's not rotated around quite.
Howard expect it to.
So let's rotate.
It's rotating fine.
Now Mary get.
So that's now rotated round and it needs scaling up.
Now I'm going to first add the picture to what we're or the texture to what we're doing here.
So the cinder block.
Now that won't show up in here just yet until we are applied a material and I'm going to in fact these
materials should really be called something like window cinderblock so I know what it is but I'm going
to call it window wall again since they're all matching at the moment.
Again sometimes you have to accept that you may have to go ahead and rename something.
So that's now map then just like before.
Let's go and turn the sun on so I can see where is the sun in my scene.
Okay.
This isn't really lighting up missing quite as I'd expect it to.
But let's go scale this up.
I can still see as much as I want to or need to if I can turn some material and just see how that's
being mapped.
Anyway I suspect that sun is on a layer that I currently don't have enabled so I can scale this up now
and again I'm going to set my 3-d cursor.
So let's do everything here and it's already in the corner but I really want it in this corner.
So I'm going to move my three cursor to the corner.
Oh move.
Carl kasell Selected.
Not selected to cursor.
I misread that.
So cursor to selected select all and make sure the pivot point is set to the 2d cursor and scale up.
Now I'm fully aware here that it is likely that I need to also shift it slightly this way as well of
a whole dot shift for a bit more granularity and it's more likely to be like that.
I think where the whole face is covered up then we've got these extra bits either side.
I think that's much better that way.
So let's go and check around the model that things are lining up as we expect them to go.
So I'm going to hop out of edit most of my got lines everywhere.
So this one is a little more problematic.
Doesn't look that great around the window itself and that might be because there's not enough detail
there but also you very rarely make a window out of a block in that manner.
So a couple of ways that we can sort this out is number one move the mesh make it slightly wider so
it fits in the brick work itself.
So this this point in the archway seems to line up pretty well if this morter line at the top.
However this bit down here so that's where you would start making your geometry match or textures which
is a slightly different workflow.
But if we're working with textures that we haven't created we may have to do that a bit of artistic
licence if you will in order to make sure that the texture maps well to our model.
In fact then we're making our model map well to the texture as well so it's awesome biotic relationship
now we have a look on the inside.
It's not as neat as before either.
So that's something we can work on again not at the moment because yes it's a bit unsightly but that's
the detail we don't know what this window is going to end up looking like.
We may end up covering up those details with other bits of geometry.
So at the moment they they really are superfluous.
They do not matter at all.
Now looking around the other side of the texture it does appear like this is much much better matched
up to the image itself.
So this is another example of well let's give it a go now this is lying over here and I'm presuming
if we select one of these faces that's Go to face selects and select here.
Yes this is the one that we've actually lined up properly over the top.
So we go to Ireland select on our model and select this island.
We should be able to move it so it's almost.
Right on top of the other one.
If I turn off snapping that's going to give me much or rather turn on snapping.
But we want it locked to a vertex and now we can overlap these perfectly.
And then when we spin around our model the other side looks exactly the same.
And doesn't that look much better now that it's mapped with the block.
Why is that.
That's not planned by the way that looks near enough perfect.
In fact we can get the geometry slightly wider all the mappings slightly wider so we can go in here.
And of course all to these mapping points so that the texture is mapped slightly differently across
these faces.
I'm not going to muck around with that at the moment because that's too much detail as I've mentioned
at this point in time.
But that small alignment there has made all the difference and I feel much better already about the
texture fitting the model.
How did you guys get on.
I'd love to see your progress.
Please share in the discussions and I will see you guys in the next lecture.