Welcome to complex shapes and you ve mapping.
In this video you will have a quick tour around my church fault.
It is by far the most complex model that I've got in my entire scene.
And we'll see the challenges that we can have with more complex models.
We'll go ahead and troubleshoot some common unwrapping issues that you may run into and work out ways
to make an unwrapped easier and quicker.
So let's hop straight on over in a blender.
So the Volt just to remind you guys is the bit that we haven't really done anything with yet.
There are several of them in the scene here as recency.
There are a few issues.
They overlap one another.
There's some strange edges poking out of them as well.
Have to have a look at that in time.
It's come together really well.
But it's starting to look out of place and a little plane.
So we could probably do with ah probably not this texture but we can slap that one in any way just to
give it a similar feel even if it's scaled slightly different maybe it's certainly going over the top
of itself here.
And in general I don't think it's suitable at the moment for just unwrapping.
So let's go open the file up and have a closer look at it.
Okay so here is the church vault itself and I will first of all just take you through how it's constructed
because what you're seeing here is the end result and that's not very helpful.
In fact I'm going to probably have to go back from the end result any way and re make some of it but
that's fine.
That's sometimes something we have to do.
So it's going to turn on all my layers as well.
So I've got something else turned on somewhere.
There we go.
So the whole thing started with the elodie a which was a very simple is looking funny there because
I got back face Cowing turned on some was going to turn that off for the sake of trying to show you
stuff.
So I constructed this basic Voltz and then used it as a basis for some curved base geometry.
So I've gone ahead and created that curve.
There you can see it's more of a square than a curve.
But that makes it easier to model with it as well because I can link things to this midpoint in between.
And then I made one going the other way and this one looks a bit different but it's not that different.
It's just got smooth shading applied to it.
And then I went ahead and did some other things on top.
I put some fake bits where the pillars would go to start to build a tarp and.
Yeah.
That's it basically and then I skin I joined all these bits together and started skinning if we go to
the actual mesh itself.
Hallett's Turn Off these other bits.
We go to the mesh itself and turn on flat shading certainly helps to see what's going on.
I then went ahead and all I got some more stuff turned on here I'm just going to turn off the length
and I must have been measuring something at some point.
So the whole part is only this one quarter.
And as you can see it's them mirrored.
To get it.
To get these other pieces out.
Now looking at the model itself you can see that the original arch ways are here and here and under
here as well.
The reason you can't see some of the other bits if we go into wireframe you can see the original arches
the ribs.
I'm going to call the ribs.
There we go.
That make up this and this.
There are simply faces on top of them.
So give it ace top and bottom surface.
So now that I've got all of this sort of laid out one of the problems with a u v is well if I try and
utilize this so I then condense that down in so this.
I mean that it so I can't hide it.
This final model here which isn't perfect by any stretch of the imagination but it's a good halfway
house at the moment and it's not very suitable for unwrapping Let's see what happens if we try letting
blender do it for us so we can see the impacts of having a more complex model and we can go into some
details in a moment of other things we can do.
So we've got renda result here.
I'm just going to clear that's going to select it and go into edit monas still got those length items
turned on amrullah Select everything unwrap an umbrella you gonna glue unwrapping of you smart you reproject.
Wow look at that.
Now whilst there is a unwrap it's not very usable.
I don't know which bits which And I'd have to do a lot of cross references.
So this model is too complicated for a basic smarts.
You ve unwrap.
In fact it's too complicated.
Just full stop.
If we just get rid of the movie image editor for a moment.
This is made up of actually more than one component these windows and the window frame itself so this
area here that's doesn't need to be a part of the main model that can be a separate item and that will
make it both easier too.
You ve unwrap in the first place and also when making the vault and introducing it to the main church
I can put windows where there need to be Windows.
The other thing that stood out especially on the Gothic church go see this insitu because we need to
be lean about it not just talk about it abstractly so we have the.
Let's just go in here and just have a look at the aisles and naves.
Nothing else on here now.
One of the issues with this particular model at the moment is that these bits going across these braces
if you will don't really make any sense.
They make sense to me when I was putting the window frame in as the base of the window.
But I didn't really conceive how what would happen if I put all of these bits together and one of the
problems that I run into is when we go a long and let's find the transects and put that back on.
Well let's just enable everything else.
You see that the windows facing this way and we need another window here and that's going to be pretty
difficult to do without a separate window piece to go in.
So there's another reason why the window piece needs to be separate.
Now it's worth bearing in mind at the moment that this bit on the end is a customized piece and so's
this one over here.
Or is that just a scaled version that might be a scaled version.
But this is completely customized.
Which means that any changes I make to these ones will not come across to here.
Some men might have to rebuild that but that's not a problem because that was a very quick scale in
this direction and then put it all back together again.
You see it doesn't quite line any way so needs to have some more stuff done to it.
So what can we do to our faults to make it better.
One of the things we can do is to separate out the things that we don't want as part of the main model.
We could go so far as to separate out the rips and then separate out the roof and then separate out
this that and the other that might be a bit over the top but certainly the main vault itself the support
pillars and the roof or the ceiling depending which way of looking at it they are definitely all one
item.
The window itself is a separate item and so it should be a separate mesh object as well.
In fact I can call it elodie B vault window to be explicit about it.
So I'm going to have to re.
Well redo this separate them out.
Fortunately I kept the old data a duplicated it before solidifying it down to one mesh object.
Turns out that's not ideal in this situation.
The other thing that I didn't realize at the time of course is these pet these volpe's share the same
place when we've got more than one of them.
We put them next to one another and we end up with intersecting like that so we end up with meshes on
top of one another.
Of course when we end up with meshes on top of one another we end up with it getting quite horrible
and nasty and we end up with lots of artefacts in our model.
So quick challenge now for you guys.
I'd like you to think about breaking down complex models.
So do you have any parts of your scene that are going to cause you a headache if you try to unwrap the
mess they currently are.
Are they actually made up of multiple components.
In which case it's likely that they need to be separated anyway.
Can they be broken down.
Are they really more than one model.
Something to take some thoughts on.
So pull somebody agao look at your models that you've got.
Think about if you can increase the level of detail to elodie see on any of these is anything you are
doing now going to impact that model further down the line.
Pause video now and give that ago.
Okay guys.
Welcome back.
Let's have a look at my vault and break it down into its component.
So just looking at my model itself I do have separate items as I've kept them.
I think first of all they need sorting out and so before I do anything else will remove the modifiers
that I have applied.
Obviously if you've built your walls up without modifiers this won't be that much of an issue.
But in this case I'm want to remove the.
All those can have both modifiers gone out the window outline again modifiers gone.
In fact this outlined here is completely irrelevant because it's part of a window base.
So this and this are all part of one object.
So the question is should they should be part of one object shouldn't they.
We can sort that out so let's make sure that we've got the mirror at all for the moment on any of these
bits.
So I'm going to remove the mirror there as well and you can see him using the mirror to my advantage
and the solidify as well.
And I've got a few other bits that I need to correct on here that stray edge that was somewhere down
the base here.
And I'm going to remove these feet completely and make them part of the pillar rather than parts of
the vault.
Oh looking at that I've also got intersecting geometry here as well so there's lots of things to go
ahead and fix it.
This particular model that doesn't look like it straight down there even.
No it's not so there's plenty of things to go through.
In fact I'm probably going to remodel this with the.
Just making the window by itself.
Here I am.
I'm working on the window at the moment.
I've set up a bevell objects to some a circle for there are curve to follow and I've decided to use
Curves because they give some quite awesome results.
So let's just give this a go now so I'm going to select the first point and control and click control
and click here and here you can adjust that in a moment come back through here.
All the way down here.
There you can see straightaway that we can start to get some really really nice shapes going on.
Obviously some of them the tweakings have an not a not so random kennett's that's that's quite nice.
It's a bit cluttered in the middle here and like trying to get things that all crossover at the same
point.
And it looks deliberate servers three things crossing over here.
I will move that in to pass.
There they go a bit more of an interesting shape.
So you can end up very quickly with a source of a pattern that might be a little sparse for a window
this large.
But one of the other ones that I was working on look came out and looked a bit like an angel which I
thought was rather cool.
I get round the right way.
So that was pretty cool there.
And then I tried another random shape and I also tried setting it to vector's to get more of an angular
display as well.
That's pretty pretty powerful on how to get those sorts of quick shapes out there and make it look a
bit more like it was made of obviously stained glass or something along those lines.
Hey Okay so I've been enjoying myself and playing around with various window designs and I've come up
with a few great fun.
I'm making my way very very quick to do so I've got this one in front of us named window Why don't know
why but there we go.
The standard window profile son was the one we had first of all I've got my angel.
And I have gots this which is my first attempt at squiggling over V over the window.
So all that's left for me to do now is convert these curve objects into mesh objects and then make the
various windows from them.
Right so I've been in I've done my conversions that I need to do sir.
Now all those curves are mesh objects I created each one of the windows individually with its own frame
as well I don't think that needs to be separate so that's gotten all the complication of the actual
window part out of the way I've removed the base bits that don't matter anymore so that just leaves
us.
This still somewhat complex object.
It's not just like a solid object.
It goes back on itself.
So in order to get this done and cut it up appropriately we're going to have to use something called
seams and would talk about that in the next lecture.