Lecture 207 - Texture Mapping in Rhino and V-Ray (Spring 2020)

all right so I apologize for that delay and having to restart this whole thing but such is life today we're gonna work on a little bit of rhino but a lot of v-ray and the the purpose today is to control how a texture is applied to an object and you guys already kept asking me the last couple classes wait a minute the bricks are too large how do I make them smaller how do you know it doesn't look right so today's about something called texture mapping and that is how does a texture apply to an object how frequently does it repeat what is the scale of the object versus what is the scale of the texture etc so we're gonna spend some time using a variety of different materials and kind of exploring what those options are and how they're applied to a particular scene so to get started under part one I'm gonna have you create some basic shapes kind of like we did in the last one where we had those basic shapes and we applied some materials to them when we were learning but I'm a little more specific about what we want so I want a cube a sphere a circle a cone and a pyramid and a wall shaped rectangle that's 12 feet by 1 foot by 8 feet so I'm going to start with that wall shaped rectangle I'll use the rectangle tool here I'm gonna work in the perspective and wherever I start I'll use my relative coordinates here so I'll use at and this is going to be what did I say it was 12 feet , 1 foot and then it's gonna be 8 feet tall so I type in 8 feet there I do need to turn off that OpenGL a problem so that I see all of my objects so let me go up into my tools options and then down here under view and OpenGL I'm gonna uncheck the GPU tessellation option and there we go now I'm actually seeing the whole thing and we can go ahead and for now switch into shaded mode for our display and there is my wall shaped object behind then the rest of these object I'll start with just the box corner-to-corner it's going to be a 4 foot so at 4 feet comma 4 feet and then we'll do it about 4 feet tall not four feet tall let's try that one more time there it is so I have a cube I need a sphere so we'll go in here again under my standard primitives I'll come over to my sphere and that should be about four feet in diameter so right now the radius is set to it's set to radius so it would be two feet to get the 4-foot sphere and again these are all approximate that sphere is below the ground we could see it in my side view so I want to move that up so that it's it's at least at ground level may be slightly floating then we'll come back here I have a cone and I have a pyramid so again these are under my standard primitives I'll pick the cone right there and the same general idea here my radius will say as two feet and my height is that was not what I wanted I want my height to be four feet there's my cone and then my pyramid again under standard there's my pyramid notice here that I can choose a number of sides I'm gonna set my number of sides to four so it's a traditional pyramid and we'll go ahead and do the same thing here this is going to be two feet and we'll come up by four feet there so those are all just objects the reason I'm picking this grouping of objects is so that we can actually talk through what did I not do a cylinder I need a cylinder too so I can talk to you through how these textures apply on various objects so let me do a cylinder here I'm just turning on my object snaps there we go so I don't even really care so much about the composition of these objects it's just about how the textures are going to apply in order to do renderings of these though I need some some basic environmental parameters we've done this before but it's always good to double-check I will create a layer called environment and then a sub layer for infinite plane I can just call it IP and a sub layer for light I will take those two layers and drag them so that they're on top of environment therefore making them two sub layers will make the infinite plane layer active and then I'll go ahead and click to add the v-ray infinite plane there it is if I don't want to see it in purple I can of course change the color of the layer to be black and that'll make it kind of a nice gray and then on my light we're gonna set up the light using a box as a guide so let me make light the active layer will set up my box here and then I'm going to use my basic directional light it's the one with all the arrows right here and we'll go from of course I put it right in the wrong spot there we go we go basic directional light snap to the low corner snap to the high corner and then I'll go ahead and delete the box so I have that light kind of generally pointing down at my scene so that then sets up the scene for me to practice rendering and to start to explore materials so I do need to make sure that I have the infinite plane and the light installed that's so that it previews more accurately I can also go ahead and I can lock the environment layer oops let me move back to the default layer here and I'll lock the environment layer so I can't accidentally select the infinite plane or the light they just exist for me okay so all of that is is set up and at this point I'm gonna start to work with my materials now in the interest of clarity I'm going to work with one object at a time so I'm going to go ahead and select everything but the cube and then I'll type in hide you don't have to you can put them on separate layers I just want to do this for for clarity purposes as I start to explore these materials so once I have this I need to assign this object a material that has a distinct repetitive pattern because it's going to be important to see that so you can kind of see general scale and what its gonna look like so I'm gonna go ahead and open my v-ray asset editor which is this first button here on the v-ray toolbar and then in the v-ray asset editor I need to find a material I'm gonna use one of the presets here so I've I've expanded my list to the left and then I needed to pick a preset so I'm not looking at things like car paint that are uniform in color I need something with a lot of texture so bricks would be good examples there may be some siding in here I have some siding a wood or a laminate might be good so one of these patterns and then I have a I have a bunch of examples on my flash drive as well I'm gonna go ahead and start with the brick I think that'll be a pretty easy one to see and I might switch it up and show you some of the other ones now there's a bunch of different styles of bricks that I can pick from down here I'm gonna do a traditional brick this red brick here and we'll go ahead and drop it over I should see a little preview of what those bricks look like okay that's reasonable and now I want to assign those bricks to this object so I'll select the object then I'll right-click on the bricks and say apply material to selection and now it's been applied now in order to see this I'm gonna go ahead and move in my view from shaded down one to rendered and this is going to give me a rendered preview I hope there we go of what this looks like it should be fairly easy to see because of the way we've set up the scene so I should be able to see my material all the way around sometimes the rendered preview gets a little wonky and you won't be able to see your object or it'll be too dark that's unfortunately sometimes the artifact of the rendering process so if i were to look at this particular object we can see that it has a texture applied generally speaking by default it kind of wraps around the object but the top this brick looks significantly larger than any of the side bricks so it's really it's not applying to my object quite right furthermore we know this object is four feet tall and so these bricks would be the really massive bricks so we need to adjust the scale of how the texture applies to the object as a whole I've started with the simplest object which is just the cube and so we're working with that so if I were to select the cube right there we could see that it's highlighted in yellow I can then come over to my properties so I'm gonna click off of the layers for a second click over into my properties this gives us basic properties about my object like what layer it's on etc but there are some other properties related to it so instead of doing the object properties I can come over the next one is material and the one after that is called texture mapping that's how we're applying the texture to the object so I'm gonna come over to that texture mapping and click on it now when I click on the texture mapping I'll make this a little bit bigger hopefully you can see it a little bit better there when I click on that texture mapping button here you'll see that directly below that I have a series of they're kind of like presets they're predefined texture maps that I can use and so this controls how the material is applied on the on the object itself I'm gonna illustrate a couple points here the first one and this one is not the one I'll ultimately use is something called planar mapping so it's this first it's it's not the surface mapping it's the next one over called planar mapping and this is probably similar to what's happening already on this particular surface so when I click on that button I need to look up at my command line and it's gonna ask me for a first corner of plane or give me a bounding box generally speaking bounding box will work it just gives you a box around your object so I'll go ahead and click on bounding box it's ask me the coordinate system to use whether it's the sea plane or the world typically we're just gonna stick with the default of world here and then it asked me a UV or a UVW just click on UV W for right now I will explain that later on so once I've done that and applied that mapping to this object I want to explain what's happening so what it did is it said ok I'm gonna take the texture of my object and I'm going to pretend like I'm shining a light through that checked er and project it straight down on the object and it makes that pattern appear on the object kind of like the projector makes the picture appear on the chalkboard okay now it's applying directly on that surface but when we get to one of the sides it's gonna take whatever the pixels are on the edge and basically streak them all the way down as if the paint just dripped off the side so I'm getting a streak from whatever that texture was so here in this particular case there's a there's a grout joint in between the bricks so I'm getting white coming all the way down here I've got a brick so that's coming all the way down so depending on what you're seeing that's what we're getting likewise on the end here I'm getting a my texture falls on that seam therefore I'm getting the grout following straight down the side so it's whatever the pixel is going straight down the site this is not by any means the most attractive way of applying texture mapping to this particular object but it illustrates the style of texture mapping that it's applying to so if I had just a surface at the top just a single surface and I wanted a picture to be applied to it for example I could just apply this kind of a planar mapping to that one surface and have you know if it didn't have any thickness to it it would just stick on there so that's that's certainly one strategy I don't want this long term so I'm going to go ahead and delete this texture mapping so the object is still shown I'll come back over into my texture mapping toolbar here and I'm going to click on the delete texture mapping option which is right there so when I click on that the texture mapping goes away and I get back to the default map which we're seeing right here so this shape the cube most closely resembles guess what a box so really the ideal choice of what kind of texture mapping is the shape that most closely resembles your object so in this case it's a box so I would go ahead and click on that apply box mapping button I'll look up here at my command line and it says first corner of base or do you want to just pick a bounding box like I said almost always we just picked the bounding box so I'll go ahead and click on bounding box coordinate system is going to be world do I want it capped that means do I want a texture on top or not yes I do want it to be capped because I want a texture to go on top and as soon as I've done that if we start to look at this object we say oh well wait a minute this starts to feel more appropriate in its scale certainly in how it's applying the brick dimension here matches the brick dimension up here which matches the brick dimension right here so it's consistent across the whole object now it's applying to this object and it actually is wrapping around that grout joint right there and continuing to go along the top surface given the pattern and the repetition one edge or the other isn't going to be able to wrap so in this case it wraps up and over but this comes up and stops and doesn't continue to wrap because of the nature of the texture so we're kind of stuck with it looking that way you can think about it if you were wrapping like a box with wrapping paper you know you can't at some point you have to fold the ends so we're doing the same thing so there's a hard seam there now if we look here at the options related to our texture mapping here we can see here under XYZ size that it actually has filled in in inches what the dimensions of this object are so in this case it's 48 inches by 40 inches by 48 inches which is great so we didn't have to do anything I will come back to this XYZ size when we don't have a cube by default we have a cube it's filled it in we don't have to worry about it so we'll come back to that in just a second now down here we have a uvw offset we have a UVW repeat and a UVW rotation so you V and W is kind of like XY and Z but it's dealing with the texture map not with the true XY and z of our scene so it has to do with the object itself so over here under our uvw repeat if we were to change one of these values we would change how the texture repeats on our object so if I pick this first one here and I said you know what I want that to be 2.0 instead of 1.0 we would see that it squishes I'm getting two repetitions of the pattern in this direction two repetitions in this direction and two repetitions in that direction but it's still one in the other two and then the other two options so if I let me go back to one generally speaking you're gonna want to have things stay in proportion and if that's the case you can click this little checkbox for lock and when you do that you can change the repeat as a whole so I could say I want the uvw to bump up to 2.0 and you'll see that the bricks stay in proportion but I get twice as many bricks on this particular object so if I had an understanding of how big four feet is and how many repetitions of bricks I want I could calculate out what an appropriate size would be for this so this is probably too dense the bricks would be too small so it's probably somewhere more like 1.25 to get the correct number of bricks for the size of this object and this is just kind of an intuitive guess on my part but you can see that I can keep adjusting so I could go to 1.5 and we get more bricks so it's gonna keep adjusting 1.1 you get the idea so I can control how many times the pattern repeats and that's what this value is for so let me go back up to 1.25 I think that's pretty good there it is and then I have a UVW rotation value it doesn't do a lot for us to rotate this value sorry but I can attempt to rotate it I don't like to use this UVW rotation I'm gonna show you how I would go about rotating it in just a second but you can try out these numbers so for example I could try the the W rotation value I could set it to 90 and it's gonna change which way the pattern is repeating so in this case I've rotated by 90 degrees the pattern continues this way instead of running across horizontally and I'll go back to zero a lot of times with this it's easier just to explain it as try one of the values and see what happens and do you like it or do you not like it so in that case I don't like it so we'll go back I could try this one at 90 and is the same thing I don't like the values so it's usually pretty self-explanatory as to which one you can make adjustments to so I'm gonna go back to zero there okay the UVW offset just has to do with where the pattern starts and ends but it's again on something like these bricks it's not particularly relevant to what we're trying to do so I'm gonna go ahead and hit escape I'm gonna zoom back out here and I'm gonna type in show to show in all the rest of my objects so I'm gonna move on to the wall object so I'll take the cylinder the sphere the cone and the pyramid and I'll go ahead and type hide so I'm left with just the wall itself right there now with this wall selected I'm going to again apply a material first so I'll click on my v-ray asset editor I'll use the same bricks so I'll right-click and say apply to selection and there we go and I have similar problems here with how this is being applied so this object again if I select it and I come over to my object properties and then texture mapping this object again even though it's longer and skinnier than a box is essentially a box it's just a little bit different proportions so again applying the box mapping to it makes sense so I'm gonna go ahead and click on apply box mapping it's going to ask me for the first corner of the base or I can again use the bounding box I would recommend the bounding box coordinate system will be world and yes I want it to be capped so now in this sense it's gone ahead and it's it's applied the texture to each side in the same manner but notice that each time I'm getting a repeat of the pattern basically once so I have once it's showing on the front here I have the same image squished to fit on the side and I have the same image really squished to fit on the top so this doesn't necessarily look as realistic as it probably should so that's where I told you I was going to come back to this XYZ size so in this scenario under XYZ size I have the dimensions of my shape 145 of 144 by 12 by 96 I have some options here this button here gives me the size of the object so that's what it's currently set at and so I can always click on that and go back to it that's the nice thing about these tools is I can I can reset if I don't like something the one to one to one is going to reset all of these to one and it's going to repeat the pattern as if it's a one inch square so if I click on that my bricks are there but they're gonna be really really tiny and I would have to zoom in to see them okay so they are there but it's it's pretty difficult to see them so let me go back to this button which goes back to the size of my object now there's one button in the middle and that is x equals y equals Z and so it's going to reset these to be an average of the three sides but it'll make them all the same so when I click on that it's going to average out at 84 inches and now if I look at it we can see that yeah the texture actually wraps around it seems appropriate the texture looks reasonable on top but I still might not like the scale maybe the the objects are a little bit too big and that's an area I can come down to my uvw repeat again I'm gonna lock them and then I'm gonna control the repeat so maybe I'll go to two now that looks a lot more appropriate for the size of the wall so again you can you can adjust this in fine increments so 2.1 gives me a few more bricks you know 1.9 would give me a few less bricks so you can decide what's a pria based on the size of your wall if you were really getting technical you could count how many courses and you could do the math based on the course plus the mortar on how big that should be perfect for foot and then you could you could adjust as appropriate this is approximate and so it's reasonable for what we're looking at it's probably in mutt to my eye it's probably a little bit more like two maybe two point one or something like that to see it so we've now applied this and it wraps all the way around the object on all sides and it wraps up and over the top of the object here so what if I really don't like the placement what if I don't like where this seam is happening or I don't like where this seam is happening and I want to adjust that I can do that by using a special little widget that I can make show up so that widget is available right here it's called show mapping and when I click on that show mapping it's going to give me this this yellow dotted cube and that yellow dotted cube represents the mapping that's been applied to this object it is currently 87 84 inches on a side I can manipulate this object just as I do any other object in rhino yeah do you have your mapping applied already I don't know I have to come see come see why it is so there it is and I can manipulate this just as I would any object so I can for example move it by typing move I could snap to it and I can move it and as I move it you can see that the texture itself is moving so I can control where those bricks fall and certainly where those bricks fall on that front edge so if I wanted the bricks to come up and flow seamlessly across that corner I can move this object so that for example it was right in that corner and suddenly the bricks would flow up and over because they match up with that corner of the object they would not match up on the backside because of the scale of the object and they would continue to flow around the object that way so there's one other trick to manipulating this object and I'm gonna come back to this a little bit more I've just moved it back so you can hopefully see it a little bit better and that is using something called the gum ball and it's right down here at the bottom it's right in the center and it's a toggle that we can turn on and turn off now some people and it's it now's my time where I'm gonna introduce the concept of the gum ball to you some people absolutely love this and they want to use it all the time and they want to manipulate their objects with it and just makes intuitive sense for them I can't stand it except in this scenario so it's a personal preference so if this is something that you like and you want to work with you can use it there's no problem with it now that I've introduced it as a concept what the gum ball is is a little widget that shows up that has a blue arrow a green arrow and a red arrow you can move your objects along axes by clicking on any one of those arrows and dragging if you click on the arrow you can then type in a value that you want it to move so I could say move four inches and it will move four inches likewise I can rotate the object along any one of these little arcs here so I could say you know what I want to rotate this object along the red axis and it's gonna rotate the object along that I've access and which is obviously affecting what the texture looks like I think it's predominantly you can see it on the end there as you're controlling how it wraps around the corner you can also click on and type in a value for it so I could say I want it to rotate by 45 degrees or something like that so this widget can be a really unique way of kind of adjusting how something is applied now of course you can get things really messed up pretty easily if you want to so in this scenario maybe I messed that up too far sometimes it's easiest to just hide the widget and then go back to your properties I'm sorry I have to select it and then delete the mapping altogether and then reapply the mapping so let me turn off gumball I've deleted the mapping I can go back and apply a box map bounding box world capped and then I can come back here x equals y equals Z and now I'm back to where I was I can come back and I can turn back on my widget and I can manipulate my widget in the same way if I can type and I can make that line up right there and what was my uvw repeat was what to I think and now I'm back to that particular object so when I'm done working and manipulating the object I can select the object and then go back to hide mapping which makes the mapping go away for that particular object at this point I can go ahead and click show that will bring all my objects back and I'm gonna work on the cylinder so I'll select everything but the cylinder and we'll type hide and now we have the cylinder to work with so let me type Z for zoom followed by s4 selected so we're Rhys entering around this particular object and then we need to apply the material to this object as well so I have it selected I'm going to open up my v-ray asset editor I'll right click on my bricks material and say apply to selection now it's applying to this and in this context it's not really too bad other than the top is a different scale than the side bricks so with the object selected I can again go to my texture mapping window over here and on the right side I'm not gonna pick a box map this time because it doesn't resemble the cylinder I'm gonna keep going and there low and behold is a cylindrical map so I'll go ahead and click on the cylindrical map and when I do that I again come up to my command line here it says base of cylinder or once again bounding box bounding box is always nice so we'll just do bounding box coordinate system do I want it to be seaplane in our world will stick with world do I want it to be capped yes or no yes let's go ahead and cap it and as soon as I do that it's now applied the material now in this case it's stretching and applying it around the cylinder as one repetition so my material goes around it as one if I come in here and I want to change the UVW repeat I can then change it to say two and it's going to get a little bit more dense this one's a little bit trickier though because you see how much it's stretching as it goes around the particular cylinder so sometimes here this is where you really need to adjust these on a more individual basis so instead of doing two for everything I might do let's say four and four and I'm not adjusting I might have done that backwards let's see here let me just reset these two one all right so we're back to ones and then let's see here let's adjust the Z all right well you try adjusting this no still doesn't like me so this might be an opportunity we're dealing with the the mapping directly is a good idea because I can't seem to get it to look the way I want it to look so I'm gonna go back to them all being equal x equals y equals Z then I'll go ahead and show my custom mapping there's my cylinder and I can work with that cylinder to adjust it so let me go in and use my gumball there it is and I want to scale all three of the dimensions at once here so let's see no it doesn't like me hold on a second talking about let me do it at all I'm gonna do a regular scale instead and let me choose the center of that object there we go and we can shrink it down and see what it would look like we can also raise it up and see what it'd look like there there's a happy medium where this starts to look right so maybe it's about like that and then I could change the UVW repeat up oops this needs to be for all of them there we go so finding the right scale now those look more appropriate like they're bricks notice though that I can also take this widget and I can move it which would cause some of the bricks to be compressed on one side and some of them to be elongated on the other side so where that widget Falls matters okay so anyway that's that's a cylinder I can also of course rotate the cylinder like I've done before and totally get you know bizarre results as these kinds of things come together but this is an example of where a cylindrical map really starts to make more sense on a cylinder you wouldn't rotate the cylinder unless you've rotated the whole object so let me undo that and I'll done do that again and we're back looking at our object okay that looks pretty good so at this point I'll hide my mapping and we'll go ahead and show the rest of the objects not responding I love it this is the way my days gone today so far so okay so I just really quickly recreated this whole thing like I said I apologize my computer's been a little funky today anyway so we're moving on we're moving to the sphere here I'm gonna switch over into the render mode and then I'm going to apply the brick texture to the sphere so I'll go back to my v-ray asset editor I'm gonna right click on the bricks and say apply material applied to selection there it is now the bricks and a sphere are inherently difficult to come together because typically bricks aren't gonna be laid in a sphere so no matter how we do it we're gonna end up with some stretching on the pattern it's kind of like if you imagine trying to peel an orange like it's a hard thing to texture so a texture that doesn't have this same kind of a pattern would be good like texturing and orange for example so anyway but I still have to kind of work with it I'm gonna go into my texture mapping so I'll click on my properties I'll go to texture mapping here and make this a little bit wider here there we go too wide trying to be consistent there and so the closest object that I have is the spherical mapping so I'll go ahead and click on the apply spherical mapping once again it's going to be bounding box world and now it's been applied nothing much has changed but I now do have some options so my Xyz size is set at 48 my uvw repeat if I check the lock button I could increase the number of times the pattern falls on this particular object and you can of course see that it stretches as it gets or compresses as it gets toward the poles and stretches out as it gets toward the middle if I show the mapping on this the mapping looks very much like the mapping on this door like the sphere itself but I can also rotate you know how that mapping is applied etc so there's not too much I can do because it's just the nature of the shape in terms of making it look quote more realistic than it currently does so I've done that one let me go ahead and hide that oops sorry I take the object and hide it go and we'll move on to the cone so I'm going to take this cone here and I'm gonna do the same thing I'll open my V right asset editor I'll click on the bricks here I'll right-click and say apply to selection and there it is so now this one is kind of difficult because it's kind of like a cylinder but it also is kind of not like a cylinder and so it's an inherently difficult one to figure out how do you want to text your map it so if you take this object and you apply a cylindrical map to it we can again use our bounding box just like we've done before world and in this case do we want it capped and that's again kind of an if you want I'm guessing no but let me go ahead and click yes to take a look at what happens so when I click yes it put a cap on the bottom of that shape and it made all of my rings concentric here which is it's kind of reasonable ended up looking out okay alternatively if I came back and I said let's do a cylindrical map here we'll do a bounding box world and no I don't want it capped we're gonna get an a an end result that's kind of similar because again the top doesn't have a cap on it so it's it's a weird kind of you know it doesn't make as much difference as you would think setting something like this up same things applies it's already set at 48 48 48 my UVW repeat I could up that to get more tears oh sorry I didn't lock them all together here something like that I could do and you know it looks reasonable but there's always gonna be distortion at the bottom and distortion at the top now depending on how I want this texture map to be applied I can spend a little bit more time and adjust it I think it's easier to see it when we go over and do it on a pyramid so I'm gonna leave the cone there for a second and I'm gonna look at the pyramid here and so when I go ahead and apply this texture map this one is really difficult to deal with because it could be a box map it could be a cylindrical map but it's got the hard corners so this is a case we're really thinking about how you want a texture map is probably more sophisticated than any of the presets that are available here so rather than picking one of the presets I'm going to use one of my other tools which is called unwrap it looks like a little package here on the upper corner and when I click on unwrap it's going to ask me to select the seams so you guys remember back to I think it's 1:30 where you guys had to do the drafted shapes and you cut them out and you folded them and they glued together that's essentially what we're doing with this particular shape so we can choose how do we want this to be split apart so when it asks for the seams maybe I'll pick this edge as a seam and then yeah go ahead and cut it along that seam that seam and that seam so when that happens it's going to unfold this and keep some of my object together and it's gonna cut where I've made those yellow seams I'm gonna go ahead and press ENTER on it oh and I should have put a material on it first hold on and so we're I chose let me let me increase the scale here just so that you can see it a little bit easier there we go so where I chose to make the seam which was that edge that's going to be a seam but the rest of it the texture is actually going to flow all the way across and all the way around the rest of the objects so I've sacrificed that one area right here where the texture doesn't match up anymore but as long as I'm looking at the object from this side I mean unselected you can see that the texture wraps all the way around the object that way so it's it's a way of controlling furthermore it wraps to the bottom too but it would wrap off of the side that didn't have the thing it's this side was the one that didn't have the seam yeah that's where it connects off of that one so I can show this in a little bit more controlled manner if I want to so if I select the object again I'm going to turn off the gumball for right now so it's not as distracting and I can come over here to this UV editor and this will allow me to basically create a temporary rectangle that shows my object and let me for for our purposes right now I'm going to turn off my environment so you can see this a little bit easier and when I turn off that environment it's going to show me the unrolled shape so there's my unrolled shape and how it's applying to the texture itself so you guys see that so if I wanted the texture to be a little bit different I can actually come in here and I can rotate it so that maybe maybe I want that edge to be right along there and it's gonna rotate the object or the texture on the object over here so it's a very fine grained control over an object but again this is always for a specialty case like you're doing some kind of very small object you want a control house you know the wood texture wraps around the handle of a pair of scissors or something that's where something like this would happen for the most part the kinds of objects that you're gonna make will fall under the major categories box lots of boxes cylinder lots of cylinder type objects or maybe some spheres depending on the curvature that's pretty much the bulk of all your texture mapping right there so if you really understand box sphere and cylinder you can pretty much cover everything unless you're trying to do something very specific like this which is why I like to kind of show you how this works just that you can see it in kind of a live format because it gives you that kind of custom setup we can do the same thing with the cone like we did with the pyramid same concept where we unroll the surface okay so that's how you would apply the texture mapping when I'm done I'll go ahead and click apply and it now applies and I can see my object as its set up I can turn back on my infinite plane to get a little bit of shadow context and there it is okay so I've you've worked your way through kind of understanding how the texture mapping works on all of these objects you'll do a little render at the end with all of your objects just so we can prove that it works I wouldn't mind if you played around with a few other materials just to kind of make sure you're really understanding this remember a day like today this is really about understanding the concept of texture mapping so that when you're working on your assignment for example you understand how to put appropriate texture mapping I can't tell you how many times grades get dropped or docked on assignment 201 because the texture mapping is too big in scale because you didn't apply it so remember it should look appropriate to the size of the object no giant wood grain on the side arm of your chair because that you know it needs to be smaller because it's wood at an appropriate scale it's not a miniature chair it's full-sized chair anyway so continuing on the next thing that I want you to do is I want you to open up and I'm not gonna worry about saving it you guys will save it you'll do your rendering you'll post I'm confident you can do that I'm gonna have you open up your bridge from last claps so I'll go ahead and I'll go onto my flash drive here I started its two classes ago let me go into my miles here let's see here there's my bridge that I was working on and I'm going to end up using this bridge or versions of this bridge in a brand new file and I'm gonna do that using a block reference so in order to do that I need to clean up this file so that it's ready to use so a few things I don't need one I don't need this extra I don't need the infinite plane so we can select it and delete it I also don't need this extra little bit here so we'll go ahead and delete that I have my object itself but let's go ahead and clean that up instead of being on the default layer maybe I'll rename that layer to be bridge there it is I don't need all these extra layers so let's go ahead and clean those up as well so I'm really trying to clean before I end up using it furthermore I want to think about how these objects are gonna come together how am I gonna glue them together that point is a pretty good point to snap to and from so I'm going to take that and I will move it from that point right there to 0 0 0 so when I end up inserting it later on I'll have a point to copy from and that'll be 0 0 that's where it's going to come in so the next piece of this would be to apply the textures to this and the texture mapping so I'll go into my v-ray asset editor how convenient it's giving me the hiding everything on me then go to my materials here and I'm not gonna do it in brick I'll do it in concrete alright there's concrete I'm going to go ahead and apply that concrete to this bridge so I can do that in one of two ways I could select the object and then right click and say apply or I could apply this to the whole layer so I can apply to layer there's only one layer in this file so it's called the bridge so all of that is now going to be applied on that particular layer I can switch over into my rendered mode to get a preview of what this looks like so it's actually it's not too bad from a texture standpoint but we can see that the texture doesn't flow from this surface to this surface so I really want to do a texture map who likewise it doesn't flow across the top here so when I'm doing the texture map I have a couple options I could set the texture map for one surface or I can do the texture map for the whole object and so in our case I think it's easiest to do it for the whole object so I'll select the whole object I'll go to my properties I'll go into my texture mapping then the closest object would be a box to it so I'll click on box mapping it's going to ask me first corner of Base or do I want a bounding box will do a bounding box coordinate system world do I want it to be capped yes I do and now if we look at the side we can see that the texture ends up being seamless as it goes over that particular side likewise it's reasonable as it goes over the top that one's a little bit harder to fold over and that one's a little bit harder as well but it looks it looks pretty reasonable the scale seems pretty reasonable remember I can select my object and I could come in here and I could adjust the scale to 1.5 if I wanted the the texture to be a little bit smaller which might be appropriate and now that I've set up my texture mapping I'm happy with it I can go ahead and I can save this I'm gonna do a file save as and I'm going to put that into today's folder some will jump up to 207 and we'll go ahead and I'll save this as bridge and there it is so it's safe next thing I'm going to do is I'm going to open up the glass spider clamp that we did before I'll go to file and then open and that was in I was at 206 here and there's my sample same thing in this case I don't need the infinite plane anymore so I can select the infinite plane and delete it I don't need my directional light I can select that and delete it as well this time I'm going to separate my my objects into two because I have a material for the glass and I have a material for the spider clamp so I might call this one spider clamp and I might change layer 1 to be called glass I'll change this object onto the glass layer there it is and then I might make layer 2 here I might call say curtain wall and I might make the spider clamp in the glass both sub layers of the curtain wall again it's all about organization when you start to bring in blocks the more organization you have the better your organ is going to be to work with your files so I'm going to delete those extra layers so I'm down to just curtain wall I have a spider clamp and I have the glass I need to apply materials to these objects so I'll click on my v-ray material editor open up my v-ray materials under glass here a lot of you guys played around with this last class picking a glass that has some color to it is good at this point because we have no background contact so I'll use the tempered glass as an example here I'm going to right click on the tempered glass and say apply to layer this is going to be on the glass layer there it is the next thing is I need some metal for the clamp itself Gold is probably not the appropriate to metal color I'm gonna do kind of a dark bronze something like that and then I will right-click on it and I will say apply to layer and we'll say this is going to go on the spider clamp itself now in this case the two materials that I've chosen even if I switch over into rendered mode for a second there's not really any texture mapping necessary because the glass is glasses you we're not gonna see any pattern repetition or anything and likewise the metal is kind of in the same boat I'm not gonna see too much pattern repetition in the metal so there's not a lot of texture mapping necessary so this one is ready as is the only thing I might do is I might take this whole thing and I might move it such that this corner right here is at zero zero zero and then I might go ahead and save it so I'll go ahead and go to file and then save as and this is going to go into today's exercise as well here and this is the curtain wall and I'll go ahead and save that so I have the bridge and I have the curtain wall saved now I'm going to create a file that has the environment in it so that I can bring the curtain wall and the bridge into that file so I'm going to create a brand new file I'll go to file and then new and this is designed to introduce the concept of blocks I'm going to use a large objects inches template and in this particular scene we can go ahead and make the perspective view large I'm going to have a layer for environment I'm gonna have a sub layer here for infinite plane I'll just call it IP I'll have another sub layer here for light will make the infinite plane and the light layer sub layers of environment there they are and then on the infinite plane layer I can go ahead and add in that v-ray infinite plane right there and on the light layer I can go ahead and set up the basic directional light there it is and I'll do that with the directional light tool right here shining down on my object actually I'm gonna have the light shining the opposite direction I'm gonna go that way and that way and then I'll go ahead and delete that object so I've set up my scene I have an environment I have an infinite plane I have a light I'm gonna bring in the bridge and I'm gonna bring in the wall as a block reference so if you've worked in AutoCAD before this is like an xref where we're referencing an external file and bringing it in I'm gonna give myself a layer for these blocks so on layer four here I'm just gonna call it blocks and I'm going to make it the active layer there it is now it's time to bring in those objects and I can't actually switch this into shaded mode so we could see it or I could switch it into rendered mode long term let me change the color of that infinite plane from being purple it's just awful there we go so now it's time to bring those in to bring those two pieces in I'm gonna go to the Edit menu and I'm going to go to blocks and I'll choose insert block instance this is some we're gonna do a lot in this class so you'll get really familiar with doing this and bring them in it helps a lot with your organization so this insert menu is gonna first ask me for the file so I need to go browse for the file I'll click the little folder icon here and browse for my file this means that when I go to open this file again I need to have the bridge file available it needs to be in the same place and it needs to be on the same drive letter so when you go to hold on hold your question for just a second if you go into the other lab to work and you plug in your flash drive and you notice that it's not the I Drive anymore it's the you know F Drive unplug it plug it in till you get the I Drive because otherwise it's gonna lose your block references ya go to edit blocks insert block instance alternatively you could press ctrl I or type insert so right here in the insert dialog box I need to browse from my file this is where I'm gonna go find my bridge file so let me go into my demonstrations here into today's folder and there's the bridge I'll go ahead and click on open and it's going to bring up this insert file options this is actually very very important so it gives me the ability to name it that isn't important down here it gives me a couple options so block definition type do I want it to be embedded do I want it to be embedded and linked or do I want it to be just linked so there's three different options that may mean three different things so the first one is embedded that means take my bridge and permanently put it in this file it's still a block but it's now permanently in this file so it's saved with the file it has no further affiliation with your original file it's been it's as if you copied and pasted it and brought it in that way the next option down here is embedded but maintain a link to my original file so if I don't have my original file I still have my object in the scene but if I want to make changes to the original file it will still update as it goes along the last option is kind of like in design maintain a link to my original file but don't actually put my original file in this scene so for our purposes today with this bridge it doesn't really matter which one you pick however at the end of the semester when you have let's say your your artists retreat and you're doing a sophisticated piece there and you have 20 different light fixtures that have been installed in 14 pieces of furniture all of which are complicated and you go to bring them all in if you embed all of those it's gonna keep slowing down every time you have more and more surfaces in Rhino it's gonna keep slowing down and causing more lag and more processing power if you maintain the linked files kind of like in design when it goes to render it goes and buys the full file and brings it in for you so it really helps speed things up to maintain links rather than embedding so I would strongly encourage you to get in the habit of choosing them as linked so we're gonna go ahead and choose linked today and then under layer style here we have two different layer styles active and reference layers I strongly prefer that you choose reference state layers it will make layers that don't look like these regular layers they'll be grayed out at the bottom you still have access to them you can still manipulate them you can still turn them on and off but it distinctly separates them from the rest of the layers in your scene and again when you in today's purposes it doesn't really matter but when you have a file that has 200-300 layers having them separated into what are active layers and what a reference layers can really help you find your objects so I would encourage you to continue to choose reference so it's linked and reference and I'll go ahead and say okay once I've done that I can say ok again and it's going to let me put this into the scene for our purposes right now I can stick it anywhere on the scene it doesn't matter I'll go ahead and click and it will go into the scene there it's too low in the scene so I need to braze it up I can use the Move tool followed by V for vertical to raise that up so it's above the ground now now that I have that and you know what let me go ahead and lock my environment so that I can't accidentally select it I can take this block and notice when I select it it selects the whole thing I can't select the individual pieces of this block it's just the whole object I can take that block and I can copy it and I can make these so that I end up with more and more of them like that alternatively I can do an array on this object which is gonna give me a number in a specified direction so let me go ahead and type array and this is a linear array it's gonna ask me for the number in the x-direction first well I just have one in the x-direction so we'll keep that number in the y-direction I don't know 15 number in the z-direction we're gonna stick with one the Y spacing or first reference point this is the spacing from right there to right there and you can see it kind of live previews these so I can say from right there too right there it gives me them in pink to verify this is where I could change oh you know what I really only wanted 13 or I really wanted 20 you can change how many let's go back down to 10 and I could also change the spacing again if I didn't like it once I'm done I'll press ENTER and now I have all of those together making that bridge now it was careful when I put it together to make these little I didn't finish that corner but to make these little notches where they come together that's part of what adds to the realism when I put all of these together if I switch these into rendered mode the material came with it the texture mapping came with it so it's all going to render appropriately when I go to do it let me switch back into my shaded mode again and let's bring in that curtain wall to go behind it I'll go into edit blocks insert block instance I'm going to browse for the curtain wall it's gonna be linked as a reference layer and I'll say okay and okay and now there it is now this one isn't quite in the correct orientation so I might need to do some rotations so we go ahead and do rotate it's just a regular rotate and we're gonna take that from being there to being there so now it's going in the correct direction and I'm gonna do an array of this piece so I will do the array so I'll type array oops select objects there's my block I'll press Enter number in the x-direction so I still only have one in the x-direction number in the Y now let's do a few more let's do 20 number in the z-direction I don't know let's do five why spacing or first reference point so my Y spacing is going to be from there to there and my Z spacing is going to be again from that corner oops sorry wrong view up to that corner now assuming for the moment that I made this object correctly when I'm done I should see this coming together as a full curtain wall where all of my little pieces line up which looks about right so I'm going to go ahead and accept that I'll press ENTER and that gives me the curtain wall with all the little spider clamps and I've got my bridge in front of it so now it's time that I've done that to set up this for a rendered view so let's come in here I'm gonna view I'm gonna render it something like about maybe like that so I'll turn back on my own my environments already there it's ready to be seen I could switch over and to rendered view to get kind of a preview of what it would look like okay that looks pretty good now I would go ahead and do the full render so I can click on the render icon here and start the rendering process and so we can already see the clear glass we could see our texture here everything looks appropriate this is what we're going after now I want to point out some advantages to the to the blocks and how the blocks work and that is that if you discover after the fact that you know what I really didn't like my bridge and I wanted to make a modification to it or the fact that it's 36 is tall and really should be 42 inches tall so I need to modify it I can go back and I can I can revisit the bridge itself so let me open that again and when I do this I'm actually gonna go back to Rhino on the desktop here and open a new Rhino so that I'm not going into file and open I'm leaving one file opening open and then I'm opening Rhino again so we'll go back and we'll go back my bridge and maybe it'll load there we go so we're back in my bridge let me switch over into shaded mode so I can just see this really quick okay let's say that I needed to put a little railing on top of this so we could say okay let's use a box and let's go there and let's make that let's do of three and a half inches and I'm gonna double-checks scale one D to check what this width is I don't know what it is it should be an inch and a half all right it is an inch and a half and then maybe I'll move this up by I don't know let's do an inch and a half sure and let's move it over I should have done this first let's snap it there and then let's move it vertical by an inch and a half and there there's a piece of like a little wood cap or something again this is not aesthetic this is just about illustrating the point so I have that maybe it needs a little rod or something to hold it up so I can come in here with a little rod of some kind snap to the center let's do a diameter of out of one inch and we'll come up to being right about there so I just added that little piece of rail now I need to apply materials to this so I'd go into my v-ray and I'd open up for my potatoes here let's go into wood I'm gonna use a veneer we'll use this one so there it is I'm gonna right-click on it and say apply material to selection that's gonna apply the material to this object likewise I would go into my metal and maybe I'll pick the same metal that I had if I can find it there there's the dark bronze ax and maybe I'll apply that to this now I applied those both as selections but I could just as easily have done layers for each of those and apply them as layers which might be a better organizational strategy but anyway for our purposes right now they're fine I'm gonna go into my view here and I'm gonna change those into rendered so I can take kind of a look at what it looks like so this veneer I need to text your map it so we'll select it and we'll come over to our texture mapping it's gonna be like a box map so I'll say apply box map it'll be a bounding box world yes I want it capped and then I need to control what the repeat on it is and it probably also needs to be x equals y equals Z so in this scenario I did x equals y equals Z my greens going the wrong direction I want that to be rotated so here's an example where I could show the mapping that gives me the little box I could then rotate the mapping and so here's an opportunity to use that gumball I told you I don't like it except under certain circumstances like this this makes it easy so I'll type in 90 there and now migraine if I turn back off my gumball is going in the correct direction and I might need to adjust the repeat value to be maybe 1.5 I can take a look at what it looks like yeah that's it's feelin about right for the size there looks about right on top yeah okay I'm happy with that this metal piece I don't need to worry about it's about the right scale anyway I need a second copy of this over here so I could take these two objects I could mirror them come on there we go and I could put them on this side now if this object here didn't have the same texture mapping let's say I didn't mirror them I I just created it from scratch I could take this object and I can match the texture mapping over here so there's a match let me take this object here there's a match mapping little button it's like a broom and when I do that it's gonna say select source object I can match it to that so if I have mapping that looks good on one object I can always jump over and match it to the other object which saves you a lot of time long term okay so I created those two upper rails like that I'm happy with what they look like I can go ahead and go to file and then save and that saves successfully now I was editing the bridge which is what it should be if I jump back over into this file here there's my final rendering we'll go ahead and close that for right now and I go back into my edit blocks block manager we can look at the blocks and notice that the bridge says linked file is newer remember I maintain that link as soon as I saved it it says oh I know that it's new so let me go ahead and update it when I update it it's gonna say oh there's a material conflict I always say replace existing material and then apply all in case you made a change to the material and lo and behold as soon as I do that this now matches up with the object that I just created which helps this whole thing come together now it looks like I have a little bit of a gap in between so I've got some issues that I didn't quite resolve but you get the point so when you're working with these block references if you get to the point where you want to make a change it's really easy to make that change if you have it as a block reference you make it once and it populates to all of your objects no matter what it is that you want to do if I wanted to punch a hole through the side of this object all I have to do is punch the hole and then it would be in all of them so it's a really it's an easy way of manipulating the object and building up your your pieces I should hide that mapping before before I lose track of it have too many maps showing so that's all done I can come back here to my final version I can go ahead let me pan this just a little bit so that I'm not seeing the bottom quite as much as I would rather see it about like that and then we can go ahead and perform that rendering one more time this time with the little wood rails on top this is what I'm gonna save and what I'm gonna post for today okay so the beginning part is about understanding how to texture map the next part is about applying the materials and then bringing these in as a block reference to give me this kind of a render at the end that kind of makes sense okay I think you guys will breeze through exercise 208 next class the good news is yes okay technically I'm not here to lecture but this is actually the first exercise where you have to kind of figure out how to model something on your own without me telling you how to do it so it's a good time for you guys to be doing that the the 209 it like I said is the organic shapes that's pretty scripted in terms of I'll walk you through how to make the cushions the hard part about that is something called a network surface which I think you guys will pick up okay on the video the key there is just making sure you understand which direction the two curves are going and so when you watch the video that'll make sense if you get stuck and you struggle with it we'll talk about it on what is it it's Monday the second of March when I'll be back okay any questions about what we did today no I'll let you guys start working you

Channel: Grant Adams

Views: 19,082

Keywords: DTFA, Digital Tools for Architects, Rhinoceros, Rhino, Rhino 3D, Texture Mapping, Unwrap, V-Ray

Id: kK0qesABRpI

Length: 70min 38sec (4238 seconds)

Published: Wed Feb 19 2020