In this tutorial I’ll show you how to create a next-gen, game model of an old weathered Boiler, with the help of only one black & white reference image. The whole process will cover the Low poly Modeling, High poly Modeling, UV mapping, Textures baking (i.e Normal and Occlusion maps) and Diffuse Texturing. Finally we’ll be applying Xoliul’s shader in Maya for realtime rendering of the model.
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In part four of the stylized character creation series, we’ll begin the Uvmapping process using Road Kill, a free third party program that will allow us to quickly generate some optimized Uv’s for our character’s clothing, head and arms.
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Efficient UV mapping is a very important step before you can begin texturing any 3d model, and will inevitably affect every other stage of your workflow, from baking normal maps, all the way to performance, rendering, and frame rate . In this tutorial you will learn the complete workflow necessary to effectively UV map a character in Maya 2009. If can be a tedious process, but with proper planning, clever conventions, and tricky time savers, it can be a very fun and rewarding process too. Note: This tutorial is intended for symmetrical geometry only.
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We’re back with part 2 of Karan Shah’s awesome tutorial on creating a low-poly T-Rex using Blender and Gimp. In the second part you’ll learn how to Unwrap your model using Blender’s built-in UV Mapping tools, bake an Ambient Occlusion map and finally how to create textures for your T-Rex using Gimp (or your image editing software of choice.) Click through to get started!
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With the lower sections of the model now complete, we’ll begin uvmapping the upper half of the model in 3D Studio Max using the UnwrapUVW modifier. In today’s post we’ll focus specifically on the many parts that make up the rear arm, mounting brackets and barrel sections of the turret, which will again comprise of both high-res and low-res mapping techniques.
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Today we’ll continue to concentrate our efforts on uvmapping and work on completing the rear leg sections. This is without a doubt the most challenging part of the model to Uvmap (Yay!) So we’ll dive right in, and begin by manually optimizing our high-res meshes. This step will not only reduce the of amount geometry in the scene, but make the mapping process much more quick and efficient.
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Today we’re going to be concentrating on mapping a few of the more challenging pieces of the Sentry Gun model. We’ll discuss how to approach mapping complex geometry and subdivision surfaces, and use a few tricks to get it done quickly and effectively.
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In this tutorial we’ll Model, UVMap and Texture a high poly Ballistic Shield in 3d Studio Max 2012. Throughout the project we’ll make extensive use of many of Max’s built in modeling tools and modifiers to create the shield. Once we have the high-res model constructed, we’ll go through a manual optimization process to significantly reduce the poly count before moving onto uvmapping and texturing in Days 2 & 3.
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Twice a month we revisit some of our reader’s favorite posts from throughout the history of Cgtuts+. Today we’re taking a look back at Karan Shah’s three part tutorial series on Modeling, UVMapping, and Texturing a complete manga character in Blender. Originally published back in October of 2009, this tutorial has proved to be one of the most popular Cgtuts+ has ever published. So if you missed it the first time, why not check it out now.
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Uvmapping can be one of the most challenging and time consuming aspects of working in 3D, especially when dealing with complex or sub divided surfaces. In day 3 we’ll complete the unwrapping stage and pack our Uv’s onto a single texture sheet in preparation for map generation and texture painting.
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