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.
It has been a long time since I last wrote on this site. Having spent the last few years concentrating on my full time job, I am now in a position where I have enough time to return to working with 3D and incorporate it into my job.
As a result, I will be working my way through and documenting my chosen software, Modo, to get a deeper understanding of the program, and giving myself a full refresher on 3D in general. Throughout this process, it is inevitable that I will use other resources on the web, for example, youtube, the modo manual etc. Where applicable I will post the resources at the end of the post. While this process is largely for myself and my own learning, I hope that presenting it here will help at least someone else at the same time.
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 fourth part will cover the remainder of the settings from the Light tab as the first part would be too long otherwise. For the first part of this guide the default spectral model will be used. There will be an inclusion of a cone and a cube as shown in the render below. All renders are at 800×600 on the “broadcast” quality setting.