Joan of Arc - Part 14 - Mapping the clothing
This is were the mapping of the character starts.
Apply the same material to all the objects and assign Material ID 1.
Although the character is composed of separate objects with the use of a Multi/Sub Object material it makes it possible to gather the maps.
There will be three multiple materials, for clothing, the armor and the body even with the head and the hair.
As for the sword, convert the objects (except the belt which is a Loft object) into a Polygon with Turn To Poly, and Collapse To the Stack without touching Meshsmooth.
Change the Standard type into Multi-Sub/Object and keep the previous material in this new material. Create another slot with a Checker material within the Diffuse Slot.
Name this "Authority" in Sub Material ID 2.
We will start with the Belt Buckle.
Assign the ID 2 to the Belt Buckle.
Ensure that no face is selected on the object then apply a Planar Map to the faces.
Resize the Gizmo until you have a square.
Add a UVW UnWrap, then open the UV Editor.
In Face Select mode Rotate the UVs shown opposite.
Select the faces shown on the left, Select both the inside and outside faces. Apply a Planar Map in the UV Editor, separate the sets from UV with Expand Selected.
Give the UV sets a good size and place then as shown opposite.
For help Show Selected Vertices in Viewport of the Unwrap Options and locate the corresponding points between the various
Remembering that if you select a point and nudge the Weld Threshold up. You should see its matching pair lightup, thus making it easier to lineup the sets as required.
Start again Remembering to Select both the inside and outside faces. Arrange the faces as shown then when all is in place weld the points with Weld Selected.
Note that there are deformations on the mapping of the interior but in this case we cannot have a continuity of UV with
These parts are hidden by the belt and are not significant.
Select the tower of the skirt.
Apply ID 3 for the skirt. Here a cylindrical map with the Gizmo rotated to have the default UV on the rear most faces.
Here we encounter several typical problems before any adjustment of the UV.
1. with a cylindrical map some faces on the hip line are well represented with the default dimensions.
2. a face is detached from the remainder of the UV, because of the cylindrical mapping.
3. UV is superimposed because of the geometry of the object (edge of the skirt).
And finally at arrow 4, the edge of the skirt, it will be necessary to unfold some confused points in the Cylindrical Map projection.
For the edges that overlap just move the points towards the outside.
To move a square of UV, select its corresponding points.
Select the two points as shown then use Expand Selection to propagate the selection.
Use Brake Selected Vertices
Finally move the group of points to the other side where the points match.
Use the Weld Target icon to weld them moving to the corresponding points.
Adjust the moving UV of the bottom of the skirt.
Finally resize this set of UVs to make it return to the mapping squar
The skirt mapped.
Select the Shapes that were used in the extrusion of the belt.
In Spline mode, assign the ID 4 with the spline.
Click on Loft in the Modifiers Stack of the Loft object.
In the Surfaces Parameters panel, Apply Material Mapping and IDs.
Max will automatic recover the ID of the spline for the Shape and assign it during extrusion.
Within the Mapping framework, increase the Length Repeat to have a non stretched checker.
Repeat the same procedure for the other Loft object.
Apply ID 5 to the clothing.
This part of the body must be assembled before putting on the mapping.
The arms, the knees and the ankles can be mapped with our Authority texture to save time.
For the arm a cylindrical map which we direct -90° towards Z on the Gizmo in Local mode, the seam of UV is on the interior and will be less visible on texture.
If we Unwrap we find that at arrow 1 the UV points overlap because of the folds and on arrow 2 the UV of cross over badly, it is necessary to detach and move these points.
As on the preceding page, detach, move and restitch the UV.
As we see here the superimposed points are now stitched together.
For the body we still use a cylindrical map.
This time we find at arrow 1 the UV is badly placed, at arrow 2 we find faces between-legs that cannot be correctly mapped with cylindrical mapping.
Use Select Face in the UVW Unwrap mode and select the faces with distorted mapping and apply a Planar Map. We now create a set of UVs for the Inner Left Leg.
Make the same selection for the other side so as to have a set of UVs for the Inner Right Leg.
Separate the three sets from the UV.
Detach the UV of the body by selecting the points of the axis down the back and use Selected Vertices. Now move a set by using Expand Selection.
Adjust UV on the belly of these two sets change the creases.
Separate and redimentionalize this set from the UV of the Inner Left Leg.
One part goes to the front and the other to the back.
Weld the UVs and finish adjusting them untill you have a regular checker.
Even the operation on the front part, so that the welding is adjusted.
Repeat the same operation for the set of UVs on the Inner Right Leg.
By activating Meshsmooth we can check the regularity of the checker pattern.
It should be noted that we can continue to adjust the UV with smoothing, modifying it in UVW Unwrap and we can Toggle the Show End Result option in Meshsmooth.
The cylindrical knee with mapping and rotation of -90° locally.
In sight UV always same corrections to be made.
The cylindrical knee mapping and local rotation of -90°.
Try to adjust the inside of the UV as to make as small amount of corrections as possible.
The ankle which is almost not visible with a cylindrical map and crude UVs.
UVs adjusted and meshsmoothed.
We can make a mirror Copy the arm, knees and ankle and to attach it to the whole of of the object to gather all the clothing.
Deselect all the faces of the clothing object, now go back to Object mode and UVW Unwrap, adjust the UV sets to insert them into a board by mapping an equal size between the objects.
Note that the UV of the ankle was turned 90° so as not to waste space.
The loincloth receives ID 5 and the Checker pattern.
Apply a cylindrical mapping with a rotation of 90°.
On right-hand side the crude UVs.
Detach several pieces of the UV and adjust them so as to use the maximum surface on the UV board.
The glove with ID 7 and the Checker pattern.
This form being complex we need to use 3 maps.
A cylindrical map for the sleeve.
A planar map for the palm of the glove.
And another planar map for the back of the glove.
In the UV Editor, separate the sets from the UV.
Finally adjust as before to clean up any problems.
The smoothed glove.
It should be noted that the texture between the fingers is always stretched a little because of the small area between the UV of the fingers.
What remains in any event not very visible.
Checker ID 8, 9 and 10 are not being used, we can erase them with the Delete button.