The ellipsoid is similar in character to the sphere, but allows for a flatter top surface which can be controlled by the two unique attributes for this primitive: Bulge top and Side
Bulge makes the top and the bottom of the sphere more squared off.
This is a short tutorial on UV mapping a model. The model selected was created by Sean Hall as part of a project we are working on together.
I do not claim to be an expert in UV mapping, but over the past few years I have learned a little bit about the process of it and have developed a method which I am happy with using. It is through this tutorial that I aim to pass on this knowledge.
Lets take a look at the model that is going to be unwrapped.
In the final part of this series, I will look at ways to tweak the texture map that was created in the last part further to add an extra level of depth to the textures. Firstly, lets recap on the model as it was at the end of the last part.
It looks okay, but there are still areas which can be improved enormously. For one, the rock texture is a little bit boring to look at, and there are a lot of cracks in the rock texture which could do with some additional texturing.
So now we have all of the texture maps that we need to make a good looking map for the rock face we are going to be working on, we now need to think about how each of the materials is going to be distributed. Obviously, all of the maps cannot be shown in full at the same time, so they must be made only visible in certain sections. While this is entirely possible to do in the function editor of your program, for example Lightwave, or even Vue, I prefer to use Photoshop, for a number of reasons. Firstly the control in Photoshop is much easier in my opinion, and you also have the option of drawing directly onto the model, which is fantastic.
This tutorial is based on a request by Christian Key to demonstrate how I would go about texturing a model of a rock face (which he has kindly provided). This tutorial will be split over a couple of days due to current time constraints.
While I understand that there are infinite different ways in which this could be done, this is the method that I would use.
I will not be focusing on the basic principles of how to apply textures here, as this is covered in a wide number of other places, and will probably just add confusion to the subject. If you are having problems with any part of this tutorial, please feel free to send me a message and ill help you the best I can.
At the request of Mike Ballard, a guide to exporting from Lightwave 9.6 to Vue has been written. This process involves UV mapping and good methods of exporting objects plus a number of problems that may arise during the process and some solutions that I have come accross.
This is NOT a definitive guide how to UV map, but maybe some of the ideas and methods I demonstrate will help.
I will be using a model created by Mike Ballard of a rather nice glass house.
This edition deals with the Cumulus clouds in the volumetric model, although they are not all designed for this model and do not necessarily look so good, I aim to demonstrate that these clouds can be used in different ways. This is aimed as a quick overview of what the clouds look like to reduce time spent rendering.
Each render is done at 800×600 at broadcast quality – the lighting model used is GI – Render times are presented as a basis of how long it took to render ONLY the sky, bear in mind that more complex scenes will take much longer than this to render.
This is the first of the reference guides to the Clouds of Vue 7. This edition deals with the Cumulus clouds in the standard model, although they are not all designed for this model and do not necessarily look so good, I aim to demonstrate that these clouds can be used in different ways. This is aimed as a quick overview of what the clouds look like to reduce time spent rendering.