How to make PS1-Esque graphics with Blender 2.8 (UV mapping)

[Applause] [Music] when it comes to 3d graphics modeling is only one aspect of digital art games or animated movies sure you may be able to build the sistine chapel but if you don't know how to paint it loses everything that makes it interesting texture is how we make objects interesting while topology makes up the volume of the object and how it bends and moves texture gives us about everything else texture gives us a color and it gives us control over how lights interact with our object is our object reflective and mirror-like or does it absorb light is our object coarse like sandpaper or is it smooth like water is the surface metallic and shiny is it transparent or translucent in any way and if so how does it let light all the way through like glass or does it stay opaque and scattered through like you would if you shined a flashlight through the webbings of your fingers are there any surface imperfections any cuts scrapes gauges of dents what about the presence of gravel the bark on a tree the weave of the fabric or the wrinkles of the skin or what about light emissions some surfaces like television screens monitors and leds all produce light what color and how strongly do they emit all of those things combined together to make one material and as amazingly complex and sophisticated as it can all seem and sound all these things can just be simply printed out on paper they're simply pictures they're image files if you're so inclined you can literally make a texture and ms paint back hold on right here you go here's the texture made exclusively in ms paint never said it would be the best texture but you can do it i also got a little bit carried away at the moment i don't expect anyone to understand what's going on here short and simple of it is that i used that ms brick texture as both the roughness and the bump map the ps1 didn't support bump mapping or lighting like this anyway i just edit it for fun but we will talk about shader nodes in another video so i made a basic image texture in ms paint and we did some voodoo magic and suddenly we have a material i've also gone and applied it to other various objects so we can see how they look now i realized i've sped through this process i have a bit of a bad habit of doing that so let's slow it down a bit and go over materials and how to add them to objects because you know it's kind of important to know how to do that i'll just delete these objects and start over whenever we make an object from the add menu by hitting shift plus a any object that we make will start off with a default white material now say we want to take this cube and we want to give it some color let's say red we have to give it a material to tell it to do this so let's add a material so to add a material we go over here to this tab the one with the red sphere and assorted checkerboard on it and with our object selected we can see over here well nothing at the moment we can see the name of our object here and this area right here would display all the materials an object would have if it had any so let's add one by clicking the new button we can now see that we have a new material in our menu and we got a whole litany of sliders and values down here yeah there's a lot of them for our purposes we don't need any of this right now we only need the basics so we're going to change the type of shader our current shader is listed right here right next to where it says surface our current shader is called the principal bdsf and it is used for making very detailed and very realistic renders however for our purposes we only need the basics so we're basically just going to rip everything out we need a shader that is as minimalistic as we can possibly get so to do that we need to change our current shader we can change the shader by clicking on the surfaces menu and changing our shader from principle to diffuse by finding it in the menu or by hitting d on our keyboard now looking at our materials it's a lot easier to understand so if we wanted to change the color all we got to do is click on the color value and pick a color and it's as easy as that okay well now let's say we wanted our image texture that we made and we wanted to apply it now to add an image texture we do the same thing as before when we went to change the rgb value in the face color section instead of clicking on the rgb value we click on this circular button next to it then what we want to find is the option that says image texture or alternatively when this menu comes up you can simply hit the shortcut t and it'll automatically select the image texture now we can see that our base color section has changed slightly since i already have my texture image ready all i need to do is apply it so i'll click open and find it in my directory now when we add our image texture one thing you will notice that our texture is slightly blurry this is because of how small the resolution is and because of texture filtering i think i've said this before about texture filtering it's great for making textures look higher resolution than they actually are in fact that's one thing that nintendo 64 used to its advantage however the playstation 1 doesn't actually support texture filtering so we're gonna have to turn it off to go about doing that we gotta go down here beneath our image source where it says linear this is the texture interpolation menu so open it and what we want to do is we want to set our current setting to closest now we can see that our texture is nice and crisp and that there is the basics of texturing well we have our brick material that we just made and it works great and we got our character model for giggles why don't we just apply the brick material to it hmm i mean i didn't expect it to look great but that didn't work like it should have so what happened so why does it work for the cube in this monkey fella but not our model well when it comes to 3d graphics software be it maya or blender it's not always as easy as throwing an image texture on an object and calling it a day our software simply doesn't understand the surface of our models we have to tell our software how to break down our 3d model into a 2d surface and this is where we get into the subject of today's video uv mapping so what is uv mapping you may ask well uv mapping is our way of telling our software how to apply image textures onto our model if the image textures are the paint then the uv mapping is the canvas remember how all the default objects didn't have a problem with the textures that we made we're now going to dive into the uv editing feature of blender so we can take a look at our original cube we applied our material to and see what's up so we select our cube and we go up here to where all these tabs are and we're going to click on the one that says uv editor when we click it our display is going to change so let's take a minute to let our eyes adjust and understand what's different on the left we can see our image texture that i made it's got some kind of cross-shaped splayed over the top of it and over on the right we can see the 3d viewport blender has gone and brought us into edit mode as well as changed her shading method i'm gonna go ahead and swap our shading mode back to the render preview it was set on it's going to be more helpful all right so what's going on here well i'm sure you've figured it out by now this over here is our uv map this is the 2d representation of our cube the way that our uv map is moved or oriented in this texture space determines how the texture will be applied to our model for every basic object that we can make blender has a pre-generated uv map that we can use this does make our lives a lot easier if we just need a basic ball or plane surface we can just throw a material on it and go about our way but now let's do this i'm gonna extrude the top up and scale it inwards a bit and now the uv map is completely broken we got that streaking that we were seeing earlier and you may have noticed that while i was editing this whatever face that i had selected appeared over here in the uv editor when i click on the new faces that we made we can see that they're being compressed down into a single line that's where the streaking is coming from these spaces right here barely even represent one pixel's width of this texture so when things get broken we gotta fix them we're gonna have to make our own uv map first we gotta do some housekeeping to make sure that we got this set up right over here in the uv editing space if we hit n on our keyboard we can open up the sidebar here what we wanna do is go over here into the view tab and go over to the overlays menu and here we're going to toggle an option called stretching this will turn our whole uv map blue now we start stretching and twisting our uv map here we'll start to notice that the uv map starts to change colors the hotter the colors the more distortion there will be when blender applies the texture to our model you can see those faces that are being compacted are a lot harder than the other faces we'll have to fix that one of the goals at the end of this process is to end up with a uv map that has little to no distortion whatsoever to actually start making our uv map we're going to start over here in the 3d space i'm just going to click an edge here i'm going to hit ctrl e to bring up the edge menu we're going to look for an option that says mark seams now you'll notice that the edge that we had selected has turned red and you'll also notice that the uv map hasn't changed either this is because at the moment we have to manually tell blender to update the uv map whenever we mark a seam we can select our whole mesh by hitting a then hitting u to bring up the uv mapping menu at the top of the menu we'll see an option that says unwrap and when we hit that now our uv map updates and we can see that well the uv map has gotten worse we'll talk about that in a second we really don't want to have to manually update every time we make a seam it's just going to make the process longer so go back into the uv mapping menu and right underneath unwrap we can toggle live unwrap now whenever we mark a seam in the mesh the uv map will automatically update in real time okay so what's happened over here on our uv map well what has happened is that we have overwritten the original uv map and this is what blender has calculated to be the flattest possible representation of our model the best way that i found to explain how this works goes like this imagine our object is like a cardboard box blender is trying to break it down by cutting along the seams where we placed them and folding them flat when we cut our models like this blender will try to preserve the shape and surface area of our faces however when there are not enough seams it'll crush it flat as best as it can to complete the metaphor what you're seeing is blenders stomping on our box so let's add some more seams to make this cut better there are many ways to go about skinning a cube so let's just go for it the way that i often think about uv mapping for things as basic as this is like how you would go about cutting up a can of coke for dui projects first you cut off the top and the bottom and then you cut up the side of the can after all if you think about it like this a cube is just a cylinder with a lot less edges you may have noticed while i was working over here in the 3d space selecting edges and marking seams the uv map over here disappeared and we can't see it anymore we can only see portions of the uv map when we have faces selected which obviously ain't helpful to us because we're currently working with edges i'm going to turn on one more feature that's going to make this a much easier process i'm going to go over here in the uv editing window and i'm going to toggle this button right here this button right here with the two parallel arrows is called the uv sync selection now whenever we make selections that are mesh we can see exactly what points correspond to the uv map and vice versa and now that we can see our entire map while we work let's step a little bit into my mind process of how i go about uv mapping now i'm going to start placing seams i'm going to take these top three edges here and i'm going to mark them i know that i want to mark these edges because mentally i'm thinking when i make these seams this portion of this model will pop up and be flat now to do the same thing at the bottom which again does the exact same thing and now we can see their map is starting to look pretty good however i can still see that in the corners there are some twinges of brighter blue i'm gonna go about fixing that but i don't need the 3d viewport anymore i'm just going to full screen into our uv editing viewport by hovering over and hitting control space i'm just going to go about marking these edges here just like i would have if i was in the 3d viewport and with that we have a great uv map and the texture looks good on the model too hmm we still got a good bit of time left in the video why don't we take a moment to uv map all of our objects from our scene it'll be good practice you can get some insight behind my uv mapping process and how i work i took the time to link all of our objects into our scene the mre packages the cans the breakfast machine i already talked about how to add object stores seen in a previous video so i don't feel i need to go over it here for this scene i'm gonna start off with the easy things first we know every object in the scene is inevitably gonna have its own material obviously our coffee isn't made out of table so we need to have different materials for our different objects but as we're starting out we don't know how big we want our textures to be for each object or whether or not they need to be textured at all so just for unwrapping sake i'm gonna just use one material for every object that we're unwrapping let's make that material now so we're gonna go to our materials tab and add a new material and we're gonna change our material from the principal bdsf to the diffuse like we've had previously and for the color we're going to set it to be an image texture now theoretically we can use any image as a texture that we want however blender has the ability to generate different types of textures that we could use for our own purposes so what we're going to do is we're going to click new and this is going to bring up a new menu that we can interact with this is the new image menu by default blender uses 1024x1024 for all new images that it would generate obviously this is too high for our purposes so let's just set it to 256 by 256. another thing that we want to change is we want to change the generated type by default the generated type is set to blank which means whatever the color data is set to is what the image will be generated as a blank colored data we're going to set the generated type to color grid and well i suppose you'll see what this does so now when we go into uv edit mode we can see that our image texture is a colored grid and this generated texture is perfect for us so that way we can see each individual pixel of our texture as it goes alright so one last housekeeping thing we want to be able to find this texture when we need it so let's name it just double click on the name and we'll type in test material so now let's unwrap our plate if we take a look at what our plate looks like in the material preview it looks like clown vomit let's be real so let's go about uv mapping now now really all that a plate is is really just a top and a bottom the sides are basically negligible they don't really have much of anything to them so i'm just going to mark the top seam right here and with that the plate is perfectly fine now there's a little bit of distortion on the sides here you can see this teal outline around it however if we look at the plate in the 3d viewport you can't really tell much of a difference so to me this is perfectly fine all right let's step it up a notch let's do the mug now i'm gonna hide everything else so nothing gets in the way while we're doing this going to assign our test material real quick now the first order of business is to break that handle off because if that handle wasn't there all this would be would be a perfect cylinder so we'll just mark seams around the edges of the handle here and then what i'm going to do i'm going to place seams along these edges right here the reason being is when we marked this handle off with the seams it really became a glorified tube it's sort of curved so by placing one set of seams along it it turns into a pipe that has been cut down the middle so when we check the uv map it's already laid out and perfectly fine all right now i want to hide the handle i could just go about selecting every vertices manually but that takes too long what i'm going to do is i'm going to swap it to face select mode make sure i'm hovering over the area that i want to select and hit l and then what i'm going to do is going to go down here to this menu and select seam so basically what this does is it selects every vertice that is connected except when it hits a certain boundary in this case we set the seams to be the boundary so it'll expand all the way until it reaches these seams and stop and then we can just hit h and hide them now for the rest of the mug really it's nothing but a glorified cylinder but instead of having a top it has an inside so we'll mark the inside face here and the bottom face and with that now we just need to cut along the side so that way it rolls outward now we'll notice in the uv space this eyelid here is actually bowed a little bit this is caused by the shape of the faces on this cup right here take notice that they're more trapezoidal in shape basic geometry would tell us that the bottom face here is wider than the top face and now that there is a ring of them when it's trying to be forced flat it's being pinched inward so here's how we're gonna go about fixing it there are two ways to go about fixing it i'm going to show the first way the second way is going to come up when we do the bowl all right so the way we're going to do that is we're going to mark all of these edges along the inside of the rim to go about selecting these edges the fastest way to do it would hold shift control alt and clicking the two set of rings hell of a shortcut but it works and with those edges selected we're going to mark them and that should fix our uv map yep sure enough now to go about doing the bowl pretty standard at this point mark the inside and the bottom faces here then mark a seam up the top like this now a few seconds ago i said trapezoidal faces cause problems because of their general geometry well our bowl is now basically made out of exclusively nothing but trapezoids so no matter how many seams we place along the side of it we're not going to alleviate any of the stretching that we have going on here so this is one of those cases where we're not going to win the battle with stretching we're going to have some stretching let's just try to alleviate as much stretching as possible by marking seams along the mesh to help it unfold better i think these ringer faces are the flattest out of all of them so i'm not gonna mark them all right now we're gonna use a special feature of blender but first we're gonna have to do a little bit of prep before we can use it we need to find a face in this uv island that is as close to a perfect rectangle as possible straight up and down not diagonally it's not gonna work diagonally i think this face looks perfectly fine so what we're going to do is we're going to eat it along to being a perfect rectangle we're going to take the top and the bottom faces and we're going to scale them on the y-axis to zero and then we're going to do the left and the right side same way except we're going to scale them on the x now here's where the feature is going to come in we're going to select this face in the uv space we can see that in the 3d space it's highlighted right here we're going to hit a to select the rest of the mesh what you'll notice is that the face that we had selected is brighter than the surrounding faces whatever face that we click on becomes what is known as the active element normally that doesn't really mean much but here's where it does what we're going to do is we're going to hit u to bring up the uv mapping menu and we're going to find the option that says follow active quad and when we do that that'll force our uv island to stretch itself to be parallel to our current active face it was important that we made that face in the uv space rectangular otherwise if we had used any other face like this one it would skew the eyelid to the shape of the active face all right now we get our island kind of the way we want it to be we have the seams in place that would alleviate the stretching however we can't force those areas to unwrap themselves and if we try to force unwrapping by selecting those areas to unwrap them it would only calculate uv mass for those areas in particular without any consideration for the other parts so obviously that's not our answer and we can't just select everything and hit unwrap because otherwise we just go back to where we started so what we need to do is we need to be able to force a blender to hold certain points of our uv map in place while we unwrap the rest we can do that by selecting portions of our map and hitting p on our keyboard so first i'm going to select this row of faces and i'm going to hit p and you will notice that the vertices of those faces in the uv mapping space are now red this means that they're now pinned and will not move when we hit unwrap all right and with that let's select everything one last time and hit unwrap i kind of forgot that when you pin islands in the uv edit mode they're ignored in the calculations for unwrapping other uv islands so when we hit unwrap these islands just fill in the space this is a little bit annoying but i did do this intentionally now we can just as easily undo it pin those faces and then recalculate however i want to show you two more features that you can use in uv mapping now geometrically speaking when we did that the faces for the top and bottom are now disproportionate to the other uv islands we can fix this easily enough by selecting all of the uv islands going up here to the uv drop down menu and finding the option that says average island scale so what this option does is it compares the uv islands that we've made to their 3d viewport counterpart and this will determine their size so after we select it we notice that our islands are now bigger than the actual uv space itself one thing we can do is select all of our uv islands and manually scale them down to fit within the space however there's obviously an easier way to do this to make blender do this for us what we need to do is go back in the uv drop down and find the option that says pac islands and just like that it optimizes our uv maps to fit perfectly within the bounds of the image space and now we're done with the bowl that was a bit of a fun one wasn't it all right what else is there well we never did the cardboard box let's do that one real quick it's easy enough so the cardboard box only really needs four seams along the inside to make it work so i'm just gonna add those real quick and uh i noticed that there were two things wrong with this uv map one obvious of one a little bit more subtle let's address the subtle one first because that requires a little bit more nuance now you may not notice it but this uv map doesn't technically match the topology of our current object it's a little bit hard to notice but if we look from above i think you can tell the difference another giveaway is if you zoom in on the texture of the model you'll notice that it's actually being squashed vertically and as far as we know we've done everything right but here's the thing we missed an error message because we're currently using live unwrap if we manually go and hit the unwrap button ourselves we're going to get a small notification down here object has non-uniform scale unwrap will operate on a non-scaled version of the mesh so basically what this means is that at some point or another when we were outside of edit mode we either accidentally or intentionally scaled our object along a particular axis and not across all of them at once we can check the scale of our object by checking out the sidebar in the items tab and looking at the scale of our cardboard box yep that's definitely not uniform however our box is the precise size that i want it to be if i set the scale to be uniform by making these numbers match it's going to disrupt how i want my box to look so what we need to do to go about fixing this is to make sure that our object is currently selected and then hitting control a what this is going to do is going to bring up a menu called the apply menu and what this does is it takes any of the changes that we've made in object mode and it applies them to the topology as if it were in edit mode so if i were to hit apply location our origin point would be moved to the world origin point because our mesh would have been shifted that's complicated so when we hit apply scale what it does is it resets our current scale from what it is right now all the way back to one across all axes which makes its current size the default size and also makes the scale uniform so now when we unwrap we'll notice that the uv map looks more like what it should and now for the obvious problem it's currently rotated on an angle i don't know why blender does this but sometimes it just orients our islands wrong it has something to do with the way that we mark our seams i don't know why but just does it sometimes so one solution is to just try again with marking seams and see if it fixes itself which is really annoying or we can do it like this i'm just going to rotate it as best as i can so it looks as straight as possible and then what i'm going to do is go up to the uv drop down menu and i'm going to toggle another feature called constrain to image bounds so now when i hit scale our island is going to be forced to be compacted within the uv space that we have applied for it i'm going to scale it down a little bit less than the actual uv space itself and then i'll move it to the bottom left corner now i'm going to tell the 2d cursor to go to the bottom left corner too i'm going to go into the view menu and the sidebar and i'm gonna set the cursor location to zero zero then i'm gonna go up here to my pivot point menu and i'm gonna set it to 2d cursor mode and now with my cursor in the bottom left corner i'm gonna select my island and i'm gonna scale it as best as i can to fit within the uv space now this does seem like a lot of faffing to go about getting a perfect uv map and you're right but at the same time considering that our textures are as small as they are we need to utilize them as best as we can all right the box is done what else is there oh we haven't even touched the table yet how could we have forgot the table well before we unwrap the table we have to clear the table so let's hide everything else and let's get down to it so the first thing that i think we should unwrap are the legs i mean they're literally just cubes that i stretch upwards on the z-axis so these should probably be one of the most easiest things we've ever unwrapped one thing i'm going to do with the legs is i'm going to focus on one of them and then i'm going to copy all of my work onto the other ones just to save me some work by now you should probably know how to unwrap a cube so i'm not going to go into that one but you know what now that i'm thinking about it if we look at this table leg there's no way that this top face here is ever going to be seen it's being hidden by the underside of the table there's no reason to have faces that you're never going to see to begin with so we should probably just delete it entirely alright so i unwrapped the leg and now i just need to copy my work so here's what i'm going to do i'm pretty certain i've shown this feature off before but i'll show it off again i'm gonna select all of our legs by hitting a and then we're gonna go into the mesh menu and find an option called symmetrize now the leg that we worked on was in the top right and if you understand the cartesian graph system then you should know that the leg is currently in the first quadrant where the x and y are both positive so in the symmetrize menu down here we have to make sure that when we're symmetrizing we have to go from the positive to the negative so we'll be going positive x to negative x and positive y to negative y now when we're done symmetrizing our legs you'll notice that in the uv map space there's only one island now we can see that the legs of our table are now sharing the exact same texture space so no matter what all of these legs will be sharing the exact same color data which in this case is great having our uv islands use the exact same texture data is one of the best ways to optimize our textures i got a few other tricks for optimizing but i think that might wait for another video alright so we got our legs done now let's work on the tabletop i think the easiest way to go about doing this is to mark the top and the bottom face off completely then what we'll do is we'll take each and every corner and then we'll mark it from the top all the way down to the inside like this hmm you know what let's actually add a wood texture to this i think that would enhance really what we're doing so we can get a real feel of what's actually happening i'm just going to go down to this button that looks like two pieces of paper and click it this is going to make an entirely new material for us i'm going to rename it to wood and then i'm just going to go over here to the texture and i'm going to load in a wood texture that i have saved for this now the reason why i need a wood texture is because the flow of the wood grain is very important to the construction of the actual table itself the grain should flow along the length of the surface of the mesh not width-wise otherwise it just sort of looks silly and if you know a bit about woodworking it would also make it more brittle so we're going to orient our uv maps to be along the grain but before we do that we should optimize them first what i'm going to do is i'm going to take every similar uv island and i'm going to put them with each other so that way they all share a similar uv space i want to go about this in a more precise way so here's how i'm going to do it i'm going to hit the big table face i'm going to hit shift s to bring up the selection menu and i'm going to select cursor to selected then i'm going to select the smaller face and do the exact same thing again with the shift s but this time instead of clicking cursor to selected we're going to do selected to cursor offset we want to make sure that we're using the one with offset if we use the normal selected the cursor what happens is every single point of the face that we selected gets compacted into the 2d cursor so that's not what we want at all and then we're just going to do the exact same process with the sides here we'll just move all of them into one singular point now if all of our islands properly optimize what we need to do is average them by size so that way they're proportionate to each other and then we can start manually packing them like we did with our box just gonna go about selecting them like this pack them near the left corner and scale them up to size and with that we have the table finished and it looks good too now the only objects that we got left are all the things that we had linked in so we're gonna have to go to them individually and work on them in their own local space we'll do the can because it's literally a can i'm sure you know my sentiments on cutting cans at this point then we have the candy bar and the mre really they're both the exact same process for doing both of them so i'm only going to show one of them we're going to mark a seam along the side we're going to flap up the top and bottom and then we're just going to place seams to help alleviate the stretching and that is the same process for both the mre and the candy bar and now we're down to the last model the big one we gotta unwrap this bad boy the breakfast machine if you're new to uv mapping and you want a challenge try unwrapping this model i think i've shown enough techniques in this video that you are properly equipped to tackle this model so if you want to accept this challenge i have a link to the model in the description below you can download it and you can open it up in blender and you can try to unwrap it yourself you can always check your work and come back later and see what i did not to say what i'm doing is right you might come up with an answer that's better than mine uv mapping is just one of those nebulous things that have multiple answers to it unlike algebra anyway if you want to take the challenge you can stop the video here i'm gonna keep going so here's what i'm gonna do first i'm gonna do the lid i always work from the small details and then work inward and all the lid is if you think about it is just a bowl with a knob on the top i'm gonna mark a seam along the inside of the mesh then i'm gonna mark off the knob on the top then i'm going to mark a seam going up the knob and then unlike how i normally cut the face off i'm going to mark out this x pattern on the top and it's going to unfold like this over here on the uv space the knob is such a small detail of the actual model itself that when everything is averaged out and proportional again it's barely even gonna be noticeable now let's move on to the bulk of the pot one thing that i'm gonna do is i'm gonna mark off all the tertiary stuff all the things that jut out from the main portion of it those are just begging to get marked we're gonna mark off the handles we're gonna mark off this button console and we're gonna mark off this platform that's jutting out of the pot the button console is easy enough we just have to alleviate the stretching on the corners by marking them i'm gonna select all these corner seams by holding ctrl alt then clicking so i can mark all of them at once now to work on the handles i'm only gonna work on one and then copy my work onto the other one so that way i don't have to work twice can't do the tried and true coke can method mark a seam down the side and flap it down now you think what i might do is take our handles and symmetrize them across the x-axis like i normally would however there's one problem with that when we unhide our model we can see that the faces around the handle that we symmetrize to got deleted this is because when we symmetrize what we're actually doing is replacing the vertices that are there so all the faces that would be composed of the original vertices no longer exist because they got deleted when we symmetrized so what we're going to do instead is we're going to select all of the seams on this handle and mirror them onto the other so the way we're going to go about doing this is we're first going to have to select our scenes now i'm not going to select them manually because that's meticulous and boring so what i'm going to do instead is i'm going to select one seam and then i'm going to bring up the select by similar menu by hitting shift g then we select seam from the menu and then all of our seams get highlighted now to mirror these seams onto the other handle what we need to do is hold ctrl shift and hit m this will mirror our current selection to the other side of our mesh depending on what axes we want to mirror it from with our selection mirrored all we have to do now is mark the seams and we'll be done with the handles the platform can be marked the exact same way we just did the handles mark a seam down the center and then flap down the end though this time i'm going to place the seam on the bottom just so that way it's hidden from view all right now we're down to the bulk of the actual pot itself i'm going to mark off the inside of the pot and i'm going to mark off the bottom of the pot just to separate from the rest of it we're going to also separate the inside from the outside of the pot the way i'm going to do this is i'm going to mark a seam along the rim of this pot right here and now i should be able to separate them from each other so now i'm going to select the outside and hide everything else i'm going to mark a side up the front and then i'm going to alleviate some of the stretching over here by marking along these seams now for the inside we're gonna mark one seam down the front like this and then we're gonna start to alleviate the stretching now unfortunately when i started to alleviate the stretching they started to overlap over themselves so what i'm gonna do is i'm just gonna make a follow active quad along these faces right here since they're actually very rectangular and that seems to fix my problem all right that's the bulk of everything done now we just gotta work on the nozzle and the handles over here i'm gonna work on the handle first now this looks more complicated than it actually is if we were to actually stretch it out and flatten it all it is is a long tube that's been wrapped in a u-shape we can still do the coke can method here gotta a marker seam down the sides gonna flop down the edges and then for good measure we're gonna do a follow active quad along this to straighten it all out if you do a follow active quad be sure to pin your island so that way they don't get undone as we keep working the live unwrap will break them again all right moving down we got the top part of the nozzle this is where the water comes in and pours into like little carrick pot or whatever here's how i'm gonna go about doing it i'm gonna mark a seam all along the bottom until we reach this point right here then we're gonna mark across from here and then we're gonna flow up the side like this until we reach the top right here at this corner then i'm just gonna go into the uv editor and i'm gonna fix these up right here and congratulations we've made a galaga ship i'm gonna do a follow active quad to straighten it all up and then i'm gonna pin it so that way it doesn't get destroyed as we keep moving all right now onto the final stretch we're down here to where you put the little flavor pods in the breakfast machine or whatever first order of business is we need to get the pod holders out of here as well as the nozzle on the bottom they're just vestigial extra stuff i'ma flatten them out and then do a follow active quad on them then it's time to move on to the actual bulk of what's left the other one that's left is pretty flat so i don't think i even need to work in the 3d viewport i'm just going to go into the uv editing mode full screen alright so the first thing that i want to do is i want to break that ring up so i'm just going to mark these two edges right here and that should open it right up all right that did the trick now to just alleviate the stretching i'm just going to mark seams along it where i see there's a lot of stretching and with that we got the last island made now we just got to select everything and put it all together go back into object mode select the lid and the pot then go into edit mode average out all the islands pack it all together and there we have the final uv map done everything that we have modeled up to now with exception with the character model has been uv mapped speaking of the character model since we're near the end of the video i want to talk a bit about that after the basic cuban modeling tutorial i posted a survey in the description of that video so you guys could vote on what kind of character you're wanting me to design well as of right now there are only 30 votes submitted i really wanted that character from the tutorial to be something of an amalgamation of what everyone wanted of course i know i won't be able to please everyone with one model but i do have plans on taking some of these suggestions and making them maybe their own video sometime later if you're interested in voting the link for the survey is in the description below go and let me know what you want to see this character turn out to be i also want to apologize for this video that a it's so long and b it took so long to get out on top of numerous technical issues would set me back the original script that i was writing just wasn't coming out the way that i wanted it to it didn't feel right i struggled for a month to try and keep writing and the best thing that i could have done for this video was to delete the original script and just start over uv mapping as a subject is very nebulous and very hard to explain in one video so if you guys have any questions or need help please leave a comment below i'll either respond directly or i'll address it in a follow-up video that'll hopefully clear up some problems i hope this video was helpful and informative and i hope it was worth the wait if you're interested want to contact me and address problems directly or just want to hang out in a community i have a personal discord server you can come and hang out in it's been a really fun experience running that and i've been meeting some really awesome people the link for that is also in the description be sure to check out the ps1 subreddit for other content or to post something that you made yourself and with that i hope you liked the video if you enjoyed this video be sure to subscribe as more will be coming next video should be about texturing since we just got done with uv mapping see you next time

Channel: TheSicklyWizard

Views: 25,179

Keywords: Blender, Blender 2.8, PS1, Graphics, Tutorial, Texturing, UV mapping, textures, 3d Modeling, art, uv, mapping

Id: 1TwvWIsfHMU

Length: 36min 57sec (2217 seconds)

Published: Sat Aug 29 2020

Reddit Comments

[u/marniconuke]

I pested you for this tutorial for so long, thank you!

[u/tingel155]

will definetely watch it before I move on with my blender work!

[u/AnimeFanOnPromNight]

Cool! Keep the good tutorials coming!

[u/louie_g_34]

I like how much work you clearly put into these videos (script and the unwrapping animations). At a point, I was more interested in the explanatory animations than the uv'ing that I rewatched it like three or four times. Amazing job, keep it up.