 Are you struggling with UV mapping in Maya? Then this video is for you. Hi, I'm Shane and in this video I'll take you through five exercises designed to take you from the absolute basics of UV mapping in Maya 2018 through to being confident in unwrapping a variety of measures. Right, let's get stuck in! Welcome to exercise number one. In this first exercise, the aim is to cover the absolute basics of UV mapping in Maya by adding a texture to some toy blocks. So let's get into it. I'll delete these and I will create a brand new cube. There's our cube. Lovely stuff. So the first thing I need to do is create this texture and put it on there. So I'll just nip into my hyper shade. Here it is, hello hyper shade. So you can see I've already got one made but I'll make another for your benefit. So I'll make a new Lambert, I shall call it M underscore blocks and then I'm going to link up the texture. So if you want to use the same texture that I'm using, then follow the link in the description below and you'll be able to get your hands on that. So there's T blocks underscore D and you can see all I've done to make this is I've got a wooden texture. I've put some letters on there. I've added some coloured squares around it and then we can use UV mapping to put certain parts of this texture on certain parts of the model. So let's create that material and then I will just drop that material onto my 3D model. So if you're still new to Maya, you might have tried to drop your texture on there and realised nothing happened. So it might still stay gray. If that's the case, just press six on your keyboard and your texture will magically appear. And you can say that it does look good. This is wrong. So we need to work out why that is. And the first place to get a good grasp on that is in the UV editor. So you can get at that in a few different ways. So you could just go up here to the top UV and open the UV editor from here and this will open up as a separate window. So then if I click on here, I can see my UV shell here and I can see my texture underneath it. But I'm going to get to it a slightly different way because I think it makes a better use of the space I've got. I'm working on one screen here because I'm recording. So I can set a split screen up for that. So you've got this little option here, which will allow you to go kind of two sides to your screen, panel layout. So I'll click on that. And then you've got an orthographic view and a perspective view. That's not what I want though. So what I'm going to do is just change. So if we go to saved layouts and I'm going to change to perspective and UV editor like that. So then I get my perspective camera here so I can see what I'm doing and I've got my UV editor over here. So that's pretty good. So here we should be able to see. I'll just, if you click on here, it will turn on like a shaded view of a UV shell. So we can see the outline of it. So this represents our cube, our 3D shape as a 2D version of it. So it's unwrapped. It's opened out and it's laid it on top of our texture. And that helps us to see why this is behaving the way it is. So if I was to just go into shell mode, select this and move it side to side. Let's make it so that most of the shell is in this red column here. You will then be able to see, let's just make that visible, that most of the sides of our cube are in the red space. So that makes sense. I think that makes sense. That's pretty straightforward. But what we want is the ability to be able to move different faces onto different parts of our texture. So we need to do a bit of simple UV mapping to get that to happen. So we need to separate all six of these sides off at the moment. They're very much joined. They want to move around together. So let's get them separated. So I'm just going to be in object mode and have my cube selected. I'm going to go to UV. And for this one, I'm just going to do an automatic projection. And the default settings are fine because I want to go from six different angles, which there are six sides to my cube. So that makes sense. So if we click on project, what that will then give us is one, two, three, four, five, six sides, but now they're all separate. So if I click on one and put my move tool on, I can move that one around independently, which is really great for this exercise. So what I'll do is make sure that I'm in UV shell mode. I'll select all six. And I want to get them all to be the same size. So I'll just put my scale tool on. And I'm just going to focus on this one in the middle. And I want to make sure that when I place that over one of these squares, it's going to be the right size. So I'm just going to get it kind of to this wooden inset because then I'll know it's in the right place. And then I'm going to scale it back up to be almost filling the red area on this texture. Just move it over a tiny bit. There. So I'm pretty happy with that. And I know that they're all the right size. So now all I can do, all I need to do is go into shell mode and I can move each one of these shells to a different letter. So I'm going to move this shell up here and stick that on A. And then this one here, I'm going to put on F. So I'm just going to try and get them to look a little bit random. I don't want the same colors to be next to each other if I can help it. OK, so this one here is kind of over K anyway. So I'll stick with that. And then we'll get this one here and we'll move it over P. And then we've got to find two more. So let's go for a D, for dog. Very nice. And the final one, let's stick it on. We'll have another green. We'll stick it on A. There we go. So at that stage, you can see that we've just used simple UV mapping to separate our one shell into six different shells and then we can position them. There will be one issue though because of the way that UV mapping works on cubes. One of these is going to be upside down. There it is. It's the A. So you can see it in comparison to the others. What is it, the A? A, I, F. It's the K. The K is upside down when you compare it to the others. So these two here don't matter as much, but the K just looks wrong. So we will need to rotate this shell. So we're going to select it, UV shell, put our rotate tool on. And then you can rotate it freehand, but you'll almost certainly not get it perfectly straight if you do that. Only a crazy person would do that. So what we're going to do is turn on rotation snapping. So at the same time as rotating, I'm just going to hold J on my keyboard. And that will now snap this rotating to 15 degree increments. So as soon as I've gone far enough around, that is now facing the right way. Okay. So so far so good. We've now mapped out one of our toy blocks. And it looks pretty nice. I don't like this I and this A being next to each other. So I'm going to move the I to make it yellow, I think. So let's get this UV shell here and we'll probably move it to C. There we go. So I just get that lined up again. And then hopefully that will look random enough. Okay. So the cool thing about UV mapping is once you've done it for one shape, if you duplicate it, it's already done for you again. So if I want to create a little group of blocks like I had before, let's just duplicate this. We'll move it off to the side. We'll just put a little rotation on it to make it look a bit more random. Okay. So you can see now they're both UV mapped. So that's good. But they look the same, which is less good. So what we'll do is we're going to go in and select all of our six UV shells all at once. And I'm just going to shift them along. And I'm going to do that to hopefully illustrate something. So let's move them all down. Yep. I think I'm happy with that. Okay. So now these are all where you would expect them to be. But one of them has fallen below. And what's going to happen is that the one here, I'll just select it so I can find it. There is it. It's on the bottom. So this one here has got a D on it. And D is the one up here. So what happens is this texture tiles. So the texture is shown here in our main zero to one space. And there is a way of turning on so it'll show you that it's tiling as well. But what it means is that if you can move your UV shells outside of this, and it will still work. So that's allowed me now to get a different letter. So I've moved them all that way. But I've now got two reds facing the camera, which I don't like. So let's shift it over to the left one as well. And then now we've got a couple of different looking blocks. Beautiful. Cool. So now I'll just create one more. And we'll just repeat the same thing. And then we will call that the end of the lesson. Because we've all worked very hard, didn't we? We've done well. So let's just randomize that one a little bit. And then we'll get our shells in shell mode. There we go. Put our move tool on. And this time I think I'm going to shift two in that direction. That looks good. Back into object mode. So now that's given us a fairly random looking collection of toy wooden blocks. There we go. So we'll just go back full screen. And that brings us to the end of the first exercise. If you want to test your new skills, then try downloading a texture map for a dice from the internet and try UV mapping that onto the different faces of a cube. If you can do that independently, then you're definitely ready to move on to the next exercise. Right, let's move on to exercise two, UV mapping and texturing a table. Welcome to exercise two. I'm glad you've made it this far. In this step, we are going to be UV mapping the hell out of this mother loving table. So as you can see, I've created this simple table. It's so beautiful. It's literally just a load of cubes. There's nothing to it. But if you want to follow this exercise along, you can download this whole project, including the stuff for the previous exercise by using the link in the description below. So what we need to do is get this bad boy UV mapped so it looks all sexy. So let's have a look at what we're currently working with. So I'll just select the whole thing and I'm going to open the UV editor. And we can see that basically it looks like a cube. And this is if we just move one of the shells, you can see that there's cubes on top of cubes because they're all the same thing basically. So that's what we're working with. And in fact, what I'll do is just go back into the UV editor. In fact, let's go into UV editing, change the workspace. So what I want to do is just turn this on so we can see the problems with the current UVs that we have. So this checkerboard pattern is here. It exists to work as a guide. So to avoid distortion, we want the squares on our model to be as square as here. So here we've got rectangles, which is not good. Even worse on the sides, like, holy crap, what is that? That does not look good. So this is what we need to fix. We need to make everything look square. And that's what the UV mapping process is all about. We also need to make sure that the grain of the wood that we put on this is facing in the right direction as well. So on the texture I have, the grain runs horizontally. So I need to make sure that that all makes sense as well. So what I'm going to do quickly is just create the material for this. So let's open the hypershade. And we're just going to throw a Lambert on there. I'm going to call it wood. And let's just attach a file for the color. So again, if you want to use the same textures as me, they're all part of the same project that you can download using the link below. So I'm going to use texture wood diffuse. So you can see that the grain of the wood runs horizontally. So there's my material. And I'm just going to select everything and assign material to selection. And I'll just put six in here so that I can see what that's doing. So again, now we'll get an idea of what is going on. And so you've got things looking really stretched here. This just looks awful. Wood grains going wrong. So let's set about UV mapping this. So the first thing I'm going to do is work on the top face. And what I'll do just to make my life a bit easier, I'm just going to set this back to the original Lambert so I don't get confused. So I'm going to work on this top section first. And what I'm going to do is I'm going to UV map in face mode. And I'm going to do the top and bottom faces at the same time since they're facing the same direction. So I'm going to just select them both like that. And you can see my UV map here shows that I've got them both. And I'm going to do a planar projection on these. So I'm going to go to UV down to planar. And I'm going to click on the options because I need to change a couple of things. So first of all, I'm looking down on this. So I'll be projecting from above. So I need to project from the Y axis. I also need to make sure that I've got selected keep image with height ratio. That's going to make sure that the squares that we were looking at a second ago are going to be square. There's going to be no distortion. So I'm just going to click on project. And there we go. We've now got rectangles. Excellent. So I'm just going to move these out of the way so that I can sort them out in a minute. Next thing I'm going to do is get the two longer sides. So I'm going to select that one there and shift select this one. So they're both selected. You can see here it's showing me that they're both selected. And this time I'm going to UV map on again the projection that I would be looking at it on, which we can see it's the X axis as illustrated down here and by this red arrow. So I'm looking through the X axis. So let's do UV, planar options. And we're going to do X axis this time project. Again, we get some nice long thin rectangles. I'm just going to move those up there out of the way. And then that leaves these two. So I can set these faces just in here because I know they're the only two left. And I'm going to UV map these on the only direction I haven't done yet, which is Z project. And I'm going to move these as well. So at the moment, they're not all the right size in relation to one another, but they are all now more accurately UV map. So if I now go into turning this grid on, which is just that icon there, you can see they're all squares on the sides. It's square, although it's been cut off a little bit. And on the sides here, it's square. So that's much, much better. But I'm not done with it yet. Needs a little bit more love. So you might have noticed that it looks like I've got only one shell here, but obviously there are two faces top and bottom. So I'm just going to turn the grid off for a second. This icon here shows you whether or not you've got shells on top of each other and whether or not they're facing the right way. So I'm going to click that. Everything looks purple. And that's because we've got faces on top of each other. So I put it into shell mode, click on a shell just once and move one over. And we can see that there are actually two there. One's blue, one's red. That's normal. So what I'm doing now is just separating these shells off so that I can see all six. Brilliant. So what I need to do next is sort out these red ones. So they're going to be really difficult to stitch together whilst they're facing the wrong way. At the moment, they're kind of inside out. So I'm looking at the wrong side. So with your UV toolkit open, so I got that by going to UV editing here, I'm going to go to the transform section. And towards the bottom of that section, there's this flip option. And you can see I'm going to be flipping horizontally or on the U axis. So this one here will be perfect. I'll just flip that. And that goes blue. Flip this one too. And this one. Okay, so now we've got everything facing the right direction. There's one other problem that we need to solve before we can stitch this all together. And that's that everything isn't the right size. So these ones here should be the shorter edges. And should match up with this edge of the table. But you can see it's too long. So I need to get everything to be the right size kind of in scale with each other part of it. So in order to do that, I'm going to make sure I'm in shell mode and select all of the shells. So all six, there we go. They're all selected. I'm going to go to modify and layout. And I want the options for this. Make sure that you're on legacy. I think by default it goes to unfold 3D. I'm going to do this on legacy. I think you can do this in unfold 3D. I just prefer the legacy method. And then the way that we're going to make sure they stay a consistent size with one another is pre-scale world. Make sure that's there. I think by default this is on none. Make sure it's on world. And that's it. So now what we're going to do is layout UVs. It will put them all back in the zero to one space. But you should be able to see now that everything is a more consistent size. So these edges here are exactly the same as the top of the table. And these will also fit down the side. So we've now got all six shells UV mapped properly, all even and all the right size. The issue we have now is seams. So I'm just going to put the texture back on quickly. Let's just go into the UV editor. Put this into object mode. Select everything and assign material to selection. There it is. Okay. So there are still some changes that I need to make. But at the moment I'm just interested in looking for these seams. So let's go for the corner here. So we really shouldn't be able to see a seam like that transitioning from one side of the table to the other. As if we're having planks, we'd expect that the coloring would be really consistent when it reached the edge. Same goes for here as well. You can see here this really obvious seam is so ugly. So we need to fix that. So what I'm going to do is I'm just going to take that texture back off again. In fact, no, I'll leave it on for now. I'm going to leave the texture on. So what I need to do is stitch all these different pieces together so that we have fewer pieces. And I need to also consider where the seams are going to be because there has to be a seam kind of per shape, at least one seam. And what I'm going to do here is make sure they're placed on one of the bottom edges. Because it's more likely that people would see the top. So I'm going to go into shell mode and work out which is the top, which is this one. So I know this is the one that I need to focus on. So I'm now going to go into edge mode. And I want to show you something. Whenever you mouse over an edge, it goes red. And it also shows you a corresponding edge. And what that means is that on the model, those two edges are connected. And it means that we can stitch them together. So I'm going to click on that edge there and it's selected the edge up here as well. And now I'm just going to close my transforms for a second and go to the cut and sell section. Let's open that up. So with those two edges selected, I'm just going to click on stitch together. Boom. And it moves them up here and it becomes part of this shell. I'm also going to click this side because I want them both to link to the top face. So I'll stitch together again. Lovely. And now I just need to stitch the bottom on. So it doesn't really matter which side I do this. So I'm just going to do it on... I'll do it on this side because it's further away from the camera. So I'll click there and stitch together. So now if I go into shell mode and move this around, you can see that that is all one shell. Excellent. So the only thing left to do for me back in edge mode is stitch the short edges on. So there's one selected there, stitch together. There's another one selected there, stitch together. Wonderful. So I've now taken what was initially six UV shells and I've put it all together to be one shell. And what that means is that if we just go in a little bit closer, you won't see any obvious seams. So you can see now the texture flows around the edges. Even on the ends here, the seams not as obvious. Everything flows around, which is exactly what we wanted. So it leaves us with one issue left to fix and that's that the grain of the wood isn't really going in the direction we would expect. So in order to do that, I'm just going to go into UV shell mode, click on it. I'm going to go to my transform section. And we have in here the option to rotate by 90 degrees. So I'm just going to click, I'll rotate it clockwise. And now the wood grain is facing the right way. So the last thing that I'm going to do just for now is move this off to the side. And that will become clear at the end when we lay everything out together. But that's the top piece completely done. So next up, we need to get these side pieces because these don't work very well either. So what I'm going to do is click on one of them. I'm going to go into face mode. And just like I did with the table, I'm going to map two directions at once. So we can see I selected them both. They're both being selected here. And I need to work out which axis I'm looking through, which this arrow here tells me is X. So let's go to UV, Plane R. All the settings will be right apart from the axis because I was just using it a second ago. So click on X axis and project. In fact, I'm just going to click on apply. Then I can leave this box open. So there we go. That's that side done. And over here, I'm just going to move these out of the way. Now what I need to do is get the top and bottom. But as you can see, because it's in the table, it's going to be hard to get hold of those. So I'm just going to do it in here instead. So I can select my faces from here. So that's a bottom face. I can see that. And that means that it's likely that this face here will be the top face. So I'm going to Shift-Select that. And then these two need to be projected on Y because I'm looking above and project. Now apply. There we go. And I'm going to move these out of the way. And then these two edges here are going to be the end ones, which don't really need to be UV mapped. But I'll do them anyway just in case I want them later. So let's get the faces. And we need to map these on Z. Apply. So now I've got all of those done. So I need to just do the same fixes that I did on the top piece. So let's turn this on so we can see what we're working with. Put it into Shell mode and separate these on to find the red ones. When I find the red ones, I'm going to click on them and I'm going to flip them. Brilliant. Now I've got to scale them all relative to one another. So I'll just close this box for a minute. Select all of my shells. I'm going to go to modify. I'm going to go to layout. And it will be set up fine from last time. So I don't need to go into the settings. I'll just click on that. And again, everything is now properly scaled in relation to one another. And all I've got to do now is stitch them together. So let's go to edge mode. And again, I need to be careful of where I put my seams. And I kind of want the main seam to be on this top edge here. So I'm going to kind of stitch everywhere except there. So I know that this one here is an edge that I need to stitch. So let's find my stitch together. I need to stitch there. Stitch together. So they're all kind of done. Just one more left here to do. Stitch together. So that's lovely. And then it won't really matter where I stitch the ends on. But I'm still going to focus on this main piece here that I began with. So stitch on that side and stitch on that side. So again, we've created just one UV shell out of six. And I'm going to put this into shell mode. I know that the wood grain is running the right way in this case because I want it to be running along the length of it. So I'm just going to move this one off of the main zero to one space. But what I need to do now is this other side. Surely only a crazy person would UV map this and then UV map this one. Being that it's an identical ship. I literally when I made this table duplicated this and moved it over here. So there's got to be an easy way to do that, right? Yes, there is an easy way to do it. So what we're going to do is select the original. Let's just turn that off. So this is the one that we've UV mapped. And then I'm going to shift select the one that I want to copy the UVs to. So I've selected them in that order. And then I'm going to go to mesh. And there's this little thing here called transfer attributes. I'm going to go into the options for it. And the thing that we need to make sure is set is UV sets all. And that's going to transfer them from my original to the duplicate. So I click on apply. And it won't work because I need to do it in object mode. There we go. Silly shame. Okay, apply. Ta-da! Right, so those two sides are done. So now what I could do is these two sides. And I could do them from scratch. But I know again that these are actually just duplicates of these longer ones. So I can copy the UV map and just edit it slightly in my UV editor. And I'll show you what I mean. So I'm going to take this original, shift select the shorter edge and transfer the map. There it is. And then if I just have this piece selected what I want to look for are the squares. So we can see the problem on this one is going to be that the squares aren't square. So to remedy that I'm going to put it into shell mode. I'm going to push it in until these look pretty square. And I think they do. So it doesn't matter whether or not I get this 100% spot on. If I wanted it 100% spot on I would UV map this from scratch. But this is going to be good enough to get the wood looking cool. So I can turn the check off again and then I'm going to copy the attributes from this piece onto the final piece here. Shift and then I'm going to apply this transfer attributes. Okay, okay. Right. So now we're looking much better. So we've got the top piece done and these supports under here done as well. So that's two out of three rounds of UV and done. The last one is going to be one of the table legs. So I'm going to choose this one. So we've got the same problem as we've had previously in that it starts off as a cube on your UV map. So let's go into face mode. I'm going to select those. Make sure I get front and back. Yep. And then I'm going to do a UV projection. Plane a UV projection and I'm going to go through X again first. So we'll apply that. Wonderful. I'm going to move these off to the side and then I want this one and this one. They're going to be UV mapped on the Z axis. So I'll apply that and again move them off to the side. And finally the top and bottom faces. I'm just going to select them in here. No one's going to see these. They're going to be on the Y axis and apply. So I've now got everything. So you can see again these don't match up but they will in a second. So I'm just going to close this. So let's go to UV shell. And I'm just going to make sure let's just turn this on. That I only have blue UV shells. So there are my three red ones. Let's get them flipped. One, two, three. Awesome. Now I need to make them all the right size. So let's put it into shell mode. We're going to go to modify layout. Wonderful. There we go. And now I need to stitch this together. So I'm going to be an edge mode for this. And again I want to think about my scene placement and the edge that's going to be least seen by anyone is going to be this one here. So I can see it's showing me that it's this one is basically the only one that I don't want to stitch together. So I'm going to stitch this one here. Stitch together. Oh I didn't like that. Let's just put this back into shell mode because when they overlap it can get confusing. There we go. So let me just work out where the edge is that I don't want to stitch that one there. So it's going to be this one that I want to stitch again. And then finally this one here. Stitch together. And then the top and bottom need to go somewhere. So I'm just going to put them here. So stitch together and stitch together. Beautiful. Now we've got one more problem with this in that the wood grain's not running in the right direction. But we can see here that it's not matching up on this edge here which means that I've put my seam in the right place. So I'm going to go into UV shell mode. And again if I wanted to I could use this rotate option but just to show you something different I'm going to turn my rotate to along by pressing the E key on my keyboard. I'm going to hold J to turn on snapping and I'm just going to rotate it by hand. It does exactly the same thing really but it's just something different. So I'm going to move that there. So we now have everything UV mapped. I just need to transfer the maps from this leg to the other three legs. And I don't need to worry about my seam placement on these because of the way that I duplicated them they're all mirrored. So it'll just work. Okay so we're going to get this one here shift select this one. We're going to open up our transfer maps or transfer attributes sorry. Okay I'm going to apply that one and then we'll select here shift select apply select here shift select apply. Okay we can close that now. So this is nearly perfect. So you could leave it done at this stage but I want to do a little bit more with it and I will show you why that is. So if I now select everything what I want to do is have all these pieces laid out in the zero to one space just here. At the moment they're going to struggle to fit. So I'm going to put this into shell mode and see if this works with overlapping shells. So let's go to modify layout. Yep that's perfect. So what this has done is made sure that everything is laid out perfectly. Oh not perfectly we have an overlapping one. Okay let's just lay these out again. Sometimes it does this too. May modify layout and actually while I'm laying it out again I need to show you one other setting. So we've made sure that the wood grain is running in the direction we want it to and so in this legacy where we've got the world scaling on we also need to make sure that rotate is set to none. Otherwise it might rotate the shells to try and get a better fit and we want the direction to remain consistent. So let's apply that again. Yep that's better. So now there's nothing overlapping everything's good and the wood grain is running in the right direction on everything. So let's see if we're happy with that. Yeah okay so now let's just spend a couple of minutes making this actually look good and then we'll wrap up. So I'm going to go into my renderer options because this looks like balls. I'll bring these options over here. So two things that I want to turn on are screen space ambient occlusion oh that is on that's good but I don't have turned on anti aliasing and that'll just make the edges look smoother. So I've done that. What I also want to do is add a slightly better material to this because the Lambert candle looks like arse. So let's open the hypershade. I'm going to create a new stingray pbs so we can get some physically based materials on there. So I'm going to clear my workspace make a stingray pbs hopefully all my options will show up in here but if they don't click on that icon there. I don't know why this doesn't show up sometimes but if that happens it's this one here and it'll bring it up in a separate window. Anyway I want color map normal map roughness map and then I need to link them up just here. So I'm going to do a color map and then go to my file and we're going to have teawood diffuse. Then I'm going to click this purple node here to get my settings back. Then I'm going to load in my normal map and that's going to be teawood normal and click on the purple node one more time bringing the roughness map and this one's going to be teawood roughness. Excellent. I do need to come back into here one more time in a second but just for now I'm going to select everything I'm going to right click on this and assign material to selection. That will make things look slightly different. Okay so that's good for now it's just going to make the kind of shine the sheen on the table look much much better. So that's good. So the final thing I want to do is get the wood tidying a little bit because I'm not a massive fan of how it's being stretched. So what we're going to do here then is in this stingray I'll probably rename this as well so I'm going to call it wood PBS physically based shader and then in this option we've got UV scale and I'm just going to make this three on both axes and then we'll just get rid of this for a second and you'll see that now the table just looks nice. Oh do you know I've never been aroused by a table before but there's a first time for everything. Look at that beauty. Okay so that is how to UV map a table. So you can see if we select this everything's done. It all fits in the zero to one space which is nice and neat. Everything's facing the right direction. We have no distortion. We have everything stitched together so that we've got no visible seams on where they are visible. We've chosen where to put the seam and this is also suitable to be exported out to something for texturing in another program such a substance painter. So this is perfect. So hopefully you've learned something from that. That's the end of exercise two. If you want to really make sure you've got this process down then you could create a desk or a bookcase and independently UV map it using the same method. In the next exercise we'll take a look at UV mapping a trickier shape. Welcome to part three. In this step we will be UV mapping this tricky bit of piping here. So usually UV mapping a cylinder really straight forward. You would just use cylindrical mapping. But because this one goes around a bend like this that method doesn't work very well. And you see we need to be able to get it so we can have this nice kind of shower ropey effect going on. And so we need our UV map to come out like this one nice long straight line. So this is going to be the finished effect. This is what we're going for. But if we have a look at where we are so we currently have this so I've just got the default material on here at the moment. And if we go into our UV not that one if we go into our UV editing mode and have a look at the UV map for this we currently just have the standard cylindrical map. And that's not going to work for us because we've got some extrusion along here. So we need to map this again from scratch. So we're going to use a completely different method to get this to behave in the way that we want it to. But first of all I'm going to put the material on there so that it looks the way I want it to look. So I'm going to go into the hypershade. So if you're following along if you want to download the shower model and the textures from the link in the video description below you will get these materials here let's just frame them up a bit better. So there's a chrome, a hot and cold which is the red and blue and a couple of different plastics that make up the shower head. But there's no pipe there's nothing for the shower hose yet. So we'll create that now. So I'm just going to clear my workspace. I'm going to go with a PBS because I want this to be physically based. And I'm going to name it M underscore shower hose. Seems like a pretty good name. And I want this to be metallic. I want it to be pretty shiny so I'm going to have a roughness of about 0.2. And I also need to use a normal map. And as I said, if you're downloading my assets you'll be able to find that in the source images folder. So we'll go to the normal map here and have a look in the source images folder. And it's the shower hose underscore normal. And this gives us all our lovely normal detail. So I'll open that up and then you can see let's see if I can just change this to something that shows up a little bit better. Not really. That'll do it a bit better. So you can see that's how it's going to appear on our shower hose when we're done. So let me just get a viewport in here. And I'm just going to dock that over here. We'll just resize that a little bit. Just makes it easier to put my texture on. And so what I'm going to do is there's my shower hose. I'm just going to drop that on there. Okay, so you can see even though we should have all this beautiful sort of corrugated effect at the moment it's all stretched. It looks silly. It's just not working. So we need to improve on that. And that's where our lovely UV mapping comes in. The first thing we're going to do to get this particular shape UV map is select it and we're just going to do an automatic projection. And it'll give us something like this. And this is not terrible. It does at least allow the normal map to start to work a little bit. But it doesn't work for what we need. And so before we can make it better we've actually got to make it a lot worse. So I'm going to put this into edge mode. Select all of my edges. And then I'm going to go to let me just find my UV toolkit. And we're going to go to cut and sew. And I'm going to do this stitch together command which can also get from the cut so menu here. Or if you're using an earlier version of my a moving so kind of does the same thing. But we'll stitch it together and we'll create this awful looking mess here. So that that is not all useful to us. And again it's just making the normal map not work. But now we can start to work with this. So I just want my channel box back for a second because I want to be able to just ping this back in place in a minute. So what I'm going to do while this is in place I'm going to go to modify freeze transformations and that just zeroes everything out. So what it means is that if I move this forward which I'm going to do if I just put a zero back in translate Z it'll just pop back into place which is very useful. So I'm going to bring it forward so that I can see my end caps here. And what I need to do now is I'm going to have to cut some seams into this so that the shape can unfold and that's going to make it work much better. So I'm going to start with the end caps first. So I'm going to go into edge mode and just double click on that top one there. Wonderful. I'm going to come in here and I'm holding shift and double clicking that. So now I've got the top and bottom end caps selected and I also need an edge loop around the back. It could be anywhere to be fair but because I generally don't want your seams to be seen not that this will be a visible seam but it's just a good habit to kind of put it out of the way. So I'll just hold shift again and double click. And so now I have top and bottom end caps and a line that goes all the way along the back which is what I want. So what this is also doing is it's just going to cut one here and I could deselect that but because these end caps can't be seen I actually don't care how they look so I'm just going to ignore them. So that's now ready and I'm going to go into my UV toolkit again and I need to cut these edges so I'll just click on cut or again you can just go into cut so and cut from there. So they are now cut so the next job is to unfold this and that's when this will start to become more usable. So I'm going to go into UV shell I'll just select everything and then I'm going to go into let's just close this section for a sec into the unfold section and there's unfold so we give that a click and now you can see if we're going to shell mode this shell here is almost perfect straight away which is brilliant. So if we have a look at our shape here this clearly isn't right but it's starting to come together. So what we really need to do now is get this upright perfectly straight so in order to do that I'm going to select an edge any straight edge so just double click on that one and then I'm going to close my unfold section for a sec and I need to go into a range and layout and I've selected this edge here because I want to use this command orient to edges so if I click on that what it will do is take that as my straight edge and it will put this all upright which is now much better so again if we go back over here we can see that this is now starting to take shape still not there but we're much much closer next job is if we go into it'll be UV mode I do this and we can see these edges are wiggly and now to be fair I could leave this as it is and I would pretty much get away with that but it would be a pretty rubbish tutorial video if I didn't show you how to do it properly wouldn't it so I'm going to select all the UVs on this shell here and then I'm just going to close my arrange and layout section and go back into unfold for a second and I'm going to use this straight and UVs option here which is really useful so if we just zoom in a little bit what it's going to do you can see some of my lines are a bit wobbly going up and down vertically and they're definitely wobbly going horizontally as well so if I just use this option here straight and UVs because they're all pretty close to being in line my edge works out for me and it straightens everything up perfectly that is now beautifully set up so I'm just going to go back into shell mode and then the last thing I need to do really to get this to look right is I'm just going to make this shell much bigger which will have the effect of tiling our texture so what I'll do is just bring this central into my zero to one space and then put my scale tool on I'm just going to scale this up until the width of the shell pretty much fills my zero to one space so there that's about perfect so if we go into object mode now and deselect you can see that we've now got that tiling effect going on and the contours follow this around perfectly so these edges look a little bit jagged because I wanted to keep it quite low poly it also makes it a little bit easier to UV map now you can still smooth this out afterwards if you want and then what I'm going to do is just pop this back into place like so and that's the UV mapping done so as I said that can be really tricky a few years ago that would have absolutely flummoxed me but using this method which I saw another YouTuber using this method and it just blew my mind it was amazing this method will get you out of almost any tricky UV mapping situation to just stitch it all together and then cut in your own seams as long as you know where you need to put them that's the end of exercise three well done for getting this far in the next step we will be UV mapping a book ready for texturing in photoshop welcome back here we are in step four and this time we will be doing a full UV map for the book and then going beyond that we're going to create a UV snapshot which is something you can use to take into an external application in this case we're going to use photoshop and then you can texture in the application so we're going to create an old style book cover using photoshop once we've got our sexy UV mapping done if you want to follow along yourself you can get the book by following the link in the description below and you can download all the models and textures that I've used so far so let's get on with this book we're going to start with the pages okay and you can see let me just get my UV editing workspace set up that the UV map as it stands is not good so we need to sort that out and what I will do is go into face mode to make a start on that so I'm going to get these first faces along the front here and then I'm going to do a planar projection and looking at my axes down here I can see that I'm looking through the x-axis so I'm going to choose that one make sure keep image width and height ratio is set to true and I'm going to project on that and that then is these pages here so I'm just going to move that up out of the way and then next I need to do these faces here on the top and bottom so if I just drag a box like this I'll get this side and this side at the same time and these two need to be mapped on the z-axis project brilliant so as we've looked at already if we go into shell mode these two are going to be stacked on top of each other and we need this red one to not be red that's got to be blue so it needs to be flipped so I'm going to transform and we'll flip it now everything is blue the next thing I want to do is stitch these three pieces together so that the pages are going to sort of go around in a continuous line without any visible seams but first I've got to get them all the same size or relatively the same size to one another so I'm going to go into shell mode and I'm going to do a layout and I'll just go into the settings so you can see what I'm doing with this so there's layout and it's this pre-scale world that I'm interested in that's got to be set to that so that the sizing the resizing happens so a layout and these are now all the same height and that will allow me to stitch these together so I'm going to go into edge mode and I'm going to click here and then hold shift oh my aunt let's go just deselect everything I'm going to click over here and then shift double click here and that'll get that entire end there and then I'm going to get over here keep holding shift and then click and double click and that just means that I've got the top and bottom edges at the same time and then I need to stitch these together and that leaves in the cut and sew area so let's go to stitch together and that creates one long piece and that'll do just nicely for now so we'll make sure that this fits in the 0 to 1 space when we're finished but the next thing we need to do is move on to the book cover this is a slightly trickier shape because we've got to do a few different things with it and the first thing I want to do is get these end pieces uv mapped to get them away from the rest of it just for now so in order to do that I'm going to go into face mode and select that face there and then I'm just going to hold shift and double click there and that's going to select all these end pieces swap around to the side I'm still holding shift click there and double click there and I've now got both the top and bottom end pieces looking at my axes I can see that for a planar projection that needs to be done on the z axis so I'm going to give that a go planar z project and that for now will give me these long curvy pieces so I'm going to put that into shell mode so that I can separate them and work out which of these two the red one is which is that one and I'm going to give that one a little flip there's my flip option so I've now got two blue shells that means that the remaining shells put it into shell mode are the inside the outside of the cover and also these end pieces and for that what I'm going to do is another planar projection and I'm going to do this on the y axis and you can see that's giving me a problem because I can't possibly UV map the top and bottom so now what I need to do is put my model into edge mode and I need to tell it where I want some seams to be where I want to cut it open to allow it to unfold and I'm going to select that one there and the corresponding one on the bottom part of the cover and that's going to separate the outside of the cover and the inside of the cover into two separate UV shells so I'm going to use my cut option here cut and then into shell mode select these shells and I want to unfold them so I'll click my own fold option here there we go so they are on top of each other but if I separate them out you can see I'll just turn these squares off to make it easy to see I'll turn my grid back on you can see that I've got these two wonderful UV shells one represent in the outside of the cover one represent in the inside I could leave it there if I wanted to but I would quite like these to be part of the cover it'll make texturing a little bit easier and here's how I'm going to do that so I've identified this as being the shell that's on the outside and what I'll do is go into edge mode and I'm going to click here and then I'm going to go to the other side double click and there'll be a corresponding edge selected here and what I want to do is stitch that together and that will make you want to panic when you do that but you don't need to worry because if we put it into shell mode and unfold that again it'll sort it out set a funny angle but it will absolutely sort it out next we need to do the same thing on the bottom so we're going to go into edge mode again I'm going to click here hold shift and double click here to get the entire bottom edge I will stitch that together select the UV shell and unfold and you can see that that now has these edges stitched to the top and bottom of the shell that's looking pretty blooming good next up I'm going to lay these out to get this one to be straight again hopefully so let's find layout there it is that has straightened everything up this one's slightly bigger because it's got more pieces on it and it's on the outside as well and this one represents the inside at this stage we're almost done what we need to do next is get everything on one UV map and then we can export it to Photoshop for texturing so I'm going to go into object mode and select everything and you can see that in terms of pixel density there's going to be some difference in fact I can show you that if I turn the squares on the squares here are smaller than the squares outside and we'd kind of like them to that to be consistent in terms of size so to fix that I'm going to use my layout option and because I have that pre-scale world setting on that will sort all my scaling issues out and that's pretty good the last thing I will do in shell mode just because I know I'm going to be texturing this in Photoshop is just move the shells away from each other a little bit and that'll just make it easier to work with in Photoshop you don't have to do this you can pack them together a lot more tightly if you want but for me this is what I want to do and the last thing I'll do is just check that everywhere has squares and not rectangles so squares on the front the tricky part is going to be around the spine they all look like squares as well and squares on the bottom squares on the pages the only place you should see any distortion is as we go into this bit here and that's not really avoidable because of the way we've mapped the pages and we wouldn't want to fix it anyway because the way we're texturing will hide it and we really don't want to see a seam there that'll blow the illusion so we're going to leave that as it is let's turn the squares off oh one other thing that is worth looking at with the squares this is the front cover of my book and this has got 1001 on it and this shows me that my book's actually not upside down you could get a bit confused if you had this shell upside down so that's the right way up if it was upside down you just put your rotate tool on hold j and just flip it over and turn it the right way up okay for me that just makes that go upside down so i don't want that okay so the uv mapping is now complete squares off into object mode and select all the pieces to be able to texture this in photoshop we need to export what's called a uv snapshot and that is just an image with these lines on which will allow us to then texture on top of them as a guide you can do that by going into image and uv snapshots there or there's just an icon over here so i'll hit the icon here's my uv snapshot images by default it should want to go into the images folder of your project if not i recommend putting it there choose your size so generally you want power of two texture sizes in this case i would recommend going for either 512 by 512 1024 by 1024 or if you want to go really high as you could go 2k do 2048 by 2048 i prefer the target image format because it never gives me any issues but you can choose whatever you're comfortable with and the edge color for me why it works so i'm going to go to apply and close and then i'm going to look in my images folder for my uv snapshot and i'm going to open that up in photoshop right here we are in photoshop then here is our uv map and we're now going to do some texturing on top of this and import the texture back into Maya to see if we can make the book look really good the first thing i tend to do is hit control and zero just to make use of my space so control zero is just going to zoom in and what i want is i've already found it and if you've downloaded my project file from the link in the description you'll have this too so this old book texture is what i'm going to use and i'm just going to open that up as a separate image so i can copy and paste pieces into here and i'll start with the pages what i want to do is create a copy of my background layer by just dragging it onto the new layer icon i'm just going to rename this to lines and i'm going to change the blending mode of this layer to screen and what that will do is put a copy of my lines in front of everything else so i'll start pasting the bits of texture here and then i'll still be able to see my lines to make sure that i'm lining up properly in here then i'm going to start by getting a marquee selection i'm going to just go here to here so as much of this page texture as i can get and that looks nice and then i'm going to hit control and c in this image back into the uv map and control v there are my pages so then i'll go control t i'm going to hold shift as i rotate and that will snap it and i'll put it up in the top corner like that and then i'm just going to bring this down a little bit perfect final thing i will do is just stretch this all the way down here it could look a little bit stretched depending on what kind of image you're working with but i know this will work because the eye will just see pages it'll look good so there's that bit done next i want to focus on the front cover which is down here into my old book texture i can see this is the front cover here well the the yeah the outside of the cover and i'm going to get this by again doing a marquee selection that looks pretty good and then i will copy that and paste it into my main image here there it is and now i'm going to hit control and t again and just start by putting this in place and i'll probably just zoom in on this a little bit or maybe not yet actually i'll just scale it down a little bit first okay so that looks like it's lining up there but i have got a bit of a problem here so i'm going to do a little bit of work to make this fit so i'll hit enter for now and just save that first bit of positioning and then i'm going to hit control and t again and i'm just going to move this image over now until the spine lines up with this first line here or the beginning of the spine does so about there i think looks good i'll hit enter to keep that now what i want to do is get a marquee selection that starts at the beginning of the spine like that and then i'm going to hit control and t and pull this out until the other side of the spine here is going to line up with this line and that's going to happen just about there i think and finally i'll get one more marquee selection of the book up to about here and then i'll scale that back down so that we're using as many of our pixels as possible i'm happy with that that's going to work i'll hit control and zero again just to make the most of my space and i just need to do something with this part of my texture it doesn't matter so much what i do here because you'll hardly be able to see it but i do need to put some kind of color on there and the way i'm going to attack that is by getting this darker color here and i'll just select that control c control v i'm going to lock this layer here so i can't accidentally select it then i'll move this piece up control t rotate it around so it's a better fit and then i'm going to put this bit up to the top corner and just drag this down to fill it like that and you'll notice that i'm going slightly outside of the texture i'm not going up to the lines i'm going over the lines because i want to make sure that i don't see any black in my finished texture okay the last thing for me to do then is to turn the guide layer off now i'm going to do file save as i'll save this twice so i'm currently in my images folder i don't want to be there when i use textures i put them in the source images folder and i'll call it t underscore book master and it's master because this is my photoshop file i'm keeping all my layers intact in case i ever need to come in and make any changes i'll then make another copy of it save as this one's going to be a target and this is the one that i'll actually use as a texture i'm going to call this one t underscore book underscore d for diffuse and i'll save that now what i want to do is go back into Maya and apply that as a texture and it should look pretty damn nice let's see if it does so we'll go into Maya classic for now i'm done with the uv editor just turn that blue effect off for now there we go and i want to make a new material i'm just going to do this really quick with a Lambert so i'll right click go to assign new material i'm going to choose a Lambert and then let's just move all the way over here so i can find the Lambert properties and then for color i'm going to just click on here to make a connection to a file and then click on the folder to choose the file and it's going to be what did i call it t underscore oh it's not saved properly i didn't click on this 24 bits per pixel okay right let's try that again t underscore book diffuse lovely and open and now if i just press six to turn on hardware texturing that will start to look like a book so there you go now one of the cool things about making a book like this is that all you now need to do if you want to make a variety of books is go back to your texture put other book covers and pages on there and it can look like a completely different book okay so i'm going to leave this tutorial here hopefully you've learned something we're now starting to get into the art of unwrapping which can be really useful we're also making sure that we're keeping consistent text density and that we're straightening all our uv maps off and we've also now taken a uv map out into photoshop to allow us to text read an external application okay that's it for this exercise in the final exercise we'll take a look at uv mapping a simple character model in the form of a teddy bear so we've made it to what is going to be my final step in this mastering uv mapping series and we're going to be doing the most complicated uv unwrap that we've done so far which is going to be this handsome little teddy bear so we are going to be using some similar techniques to previous steps but what's going to make this one different is that we're going to be doing some stacking of the shells which will allow us to basically double the pixel density we can get out of our textures and then as a bit of a bonus when we're done we'll take the bear into substance painter and make him look really cool if you want to use the same bear that i'm using then follow the link in the description below and you'll be able to download this along with all the other models and textures that i've used so far or if you want to make your own then this teddy bear is actually one that i made in one of my classes following an exercise that was created by mr h and i'll leave a link to that video in the description too right we better get stuck in one of the first things we're going to do because we want to have it so that we're only going to uv map one side of this guy and then we're going to mirror the geometry and that's going to allow us to double up on our texture space essentially so the first job is to get half of him deleted so what i'm going to do is just hop into my foreview and i need my front view ideally there it is i'm going to pop him into face mode and delete this half here it doesn't really matter which half you delete but i always prefer to delete the one on the left so there's that gone back into object mode and i'm also going to delete the other eye there we go beautiful okay so at this stage i'm ready to start uv mapping the first thing i'm going to do is a projection so i'll go into this create option here and i'm just going to choose automatic boom and there we get lots of pieces not too bad but i want to get this down to fewer pieces and i want to be in control of how it's all put together so the first thing i'll do is go into edge mode select all the edges with a big marquee selection and i'm going to stitch them all together so i'm going to go into cut and sew and i'm going to do stitch together boom and that's going to create this awful looking mess which is in this case exactly what we're looking for now what we want to do is go in and cut the seams where we want them so to do that i'm going to work on the bear which is why i've got this side by side view and i think i'm going to start on the leg so into edge mode and i'm going to cut the leg off here so i might have to just work my way around to get this section so there we go we can see that i've got that loop there selected and while i'm at it i'm also going to cut the leg in half so i'll click there go around to the back and double click there and then Maya will fill in the rest of that loop so that's going to cut the leg off of the main mesh and it's also going to separate it into two sides at that stage i'm going to cut my UVs at that stage you'll see that i get some seams exactly where i want them next up i'm going to do the arm in a very similar way so into edge mode choose where i want to cut it off and i think i'm going to choose just here so let's make sure that i get all of this selected lovely and i'm going to click here and go all the way around to the side double click here and that's going to separate the top from the bottom and i'm doing that because that allows me to texture everything if i did it down the shoulder this way then that i wouldn't be able to get like the inside of the thumb it wouldn't work very well so i'll cut that some more seams that i'm happy with next i want to cut his head off so let's do that go into edge mode i'll double click there and i'm going to cut it that's lovely and then i'm going to cut his ear off and cut this into a few pieces so i'm going to cut the ear on this edge loop here so let's see make sure that's gone all the way around yet i'm going to cut here to here so i get a front and back of the ear and i also you don't necessarily need to do this but i i want to do it this way i'm going to get this edge loop inside because when i texture i'm going to do this inside a different color and having it as a separate shell makes it a little bit easier and then i'm going to go to cut let's have a look what my shells are looking like now yep that's getting there i now need to cut the head into some pieces and i'm going to cut the front from the back so back into edge mode and i'm going to start a selection here and go up to there and then i'm going to finish it off over here from here to there and that will allow me to cut the front from the back and i also again for the same reason that i did the inside of the ear i'm going to cut into the snout area and that's going to allow me to put a different texture there and i want my snout to start here i think so that didn't work well let's try again double click on that and that's gone all the way around so i'm happy enough with that so we'll put a cut in and i'll cut the nose off as well there we go and cut so we're nearly there now the last thing i want to do is cut the torso in half so to do that i'm going to be into edge mode one final time so there's one edge there that's going to need to be done and then from here to here and also make sure i get nice and involved in his crotch there we go oh that didn't go well there we go right so now i've got two selected there all selected there yep and that will do it so i'll cut that so at that stage that should be everything done hopefully but it may go wrong and if it does i'll repair it but that looks okay so at this stage i need to unfold all these shells so we're going to shell mode over here select them all and we're going to unfold and we'll just click on the unfold option okay so that looks okay and then to make it a little bit easier to see we'll try and lay these out as well so we'll go to a range and layout and we will go to layout and see what that gives us okay so that's pretty good something about this shell here doesn't look right let's turn this on you can see it's got a bit of overlapping going on there so we'll get this shell here we'll pull it out and we'll use the optimize tool on it there we go and that brings it out much better and while i'm at it i think i'm going to run the optimize brush over everything else make sure that it's all working as expected maybe we'll go into shell mode first select all the shells and we'll just run the optimize brush over them and that's just going to straighten everything up when we're done yeah so that's pretty nice okay at this stage then i want to lay them all out again so let's select all the shells and we'll do a layout and that's going to get my pixel density about right and then i'm going to turn my squares on and i want to get an idea for which way my shells are facing so i want to try and get the squares on here as straight as possible so that's going to shell mode and i'm going to use a fairly busy texture so it won't matter too much to forget them perfectly straight but i want them mostly straight so that's okay on that side where's the other side of the foot and we'll try and get this straight and i'm also rotating them around so that they're recognizable as well so the feet are kind of facing this way to make it a bit easier let's have a look at the top of the arm let's get that pretty much straight yep same with the bottom of the arm yep okay let's get the torso so one of the things that i'm going to do for this torso which will introduce a little bit of distortion but because there's quite a noticeable seam down the front when i mirror this over i'm going to try and get this edge straight so i'm going to go into UV mode and i'm just going to click that top UV there and then double click the one at the bottom and then what i'll do is click on straighten UVs and that does put a straight edge on it but it does introduce some stretching so i'm just going to try to get that a bit better so that looks okay there they're now pretty much straight so it does introduce a little bit of distortion but the main seam here should now be pretty much invisible which is pretty important so we'll just put that back into shell mode so i'm happy enough with that if you're worried about your seam here you can also do the same thing and straighten your UVs there which actually yeah i'll do that let's go into UV mode and we'll get the top one the bottom one we'll straighten the UVs and make sure that hopefully the squares haven't become rectangles they're pretty square like that okay so i'm happy with that particular part but i need to repeat that for this shell here so let's get i think i'm just going to straighten it up a little bit first i kind of should have done that with the other side as well but it will be fine then we're going to go to UV and we'll straighten this side straighten shell and let's just make sure yeah straighten shell is okay so we'll do that and then what we need to do is straighten these UVs here as well so let's straighten those UVs and check that that hasn't become a rectangle no that's okay so i'm happy with those two shells they're pretty straight okay so what i want to do for the ears is i'm actually happy with the squares going at like a diagonal angle that being said i am still going to rotate them around so they're pretty straight so that i can recognize what they are so there's the outside of the ear here's the back of the ear and get these pretty straight and somewhere they'll be the inside of the ear which i believe is this bit yep so we'll spin that around as well lovely okay and i think that just leaves the bits of the head really so let's find this shell here here it is so i'm not going to try too hard to get this perfect because i'll never do it so i'm just going to try and get it fairly straight here so i'm just going to rotate to about there i'm happy enough with that then i'm going to look at the back of the head i'll do something similar i'm not going to worry too much about the seam on the back of the head since you won't see it much and then finally the snouty bit and i'm going to be looking at my bear here to try and work out when this looks mostly straight about there so i've tried to get it straight here and that will do it so i've now oriented all these pieces to where i want them so i'm going to be in shell mode select them all and i want to lay them out one final time so we'll go into modify and i'm going to go to the layout options this time so this prescale world is important i do want that but what i want to turn off this time is this rotate i want that to be on none because i've just spent some time rotating these to how i want them so with that said i can now click on layout UVs and that will pack all my shells as closely together as it can do it without rotating them so that's pretty close so now i'm just going to repeat the process but much more quickly on this little fella here so let's go into object mode to get his eye we'll just do an automatic map we'll select everything in edge mode select them all then we're going to sew them together cut and sew and stitch together and then what i'll do is go into edge mode i'm just going to turn the squares off for a minute so i can see what i'm doing and double click there and then cut at that stage i can go into shell mode and do an unfold on those so they now look okay they're both unfolded pretty well i'll perform a layout on them just to get the size consistent so click on layout and they're now pretty much good to go although that being said there's a strange bit of distortion happening here so let's just go in with our optimized tool give it a little brush over that looks much better and now what i'll do is go into object mode i'm going to select everything so here are all my shells now i need to get these all to fit onto one UV sheet so i'm going to select all of my shells again we're going to do a layout so let's go layout and now everything fits so all it's done really the the layout of the bear stayed the same but it's added the the front and back of the eye and if i really wanted to to increase my density a little bit more i could stack the two eye pieces but because there's plenty of room for those anyway i don't need to okay so all that is left for me to do now is to put the bear back together so let's turn the colors off we'll select our bear in object mode we're going to go to mesh and mirror open the settings and by default this looks like it's set up okay because we're going to be mirroring over the x-axis in the negative direction and we do want to merge the border vertices so we'll give that a try let's mirror and he's been put back together so we'll just check that there's no edge smooth increase where we put him back together now that's pretty good and we just need to duplicate this eye as well so for that what i'm going to do is hit ctrl and d and then on translate x i'm just going to put a minus value in there and that should move it over to the other side it didn't should try that again i'm going to put a minus value in there there we go and then i just need to sort out the rotation so that it matches up with the other side so i'm going to reverse the y-axis on my rotate so let's go minus whatever number i had there and that then should be pretty good yeah okay so now we've put him back together he's got two eyes a whole body but you can see we're still only using half of the uv space the only thing that will be different now if we turn the colors on is for some of the bear it's showing us that it's reversed and often you don't want that but in this case because we're trying to cut down on the amount of texture space used it is exactly what we want so now all that's left to do is get it into a texturing program and reap the rewards of our hard work so let's do just that i'm going to go to file export selection so i'm going to substance painter so i'm going to export as an fbx i'll put it into the uv mapping folder that i'm sharing with everyone i'm going to call it bear for substance painter so i'm leaving smoothing groups on but i'm leaving everything else and then i'll just export the selection and now that's ready for substance painter okay so here we are in substance painter let's get it set up and ready to do a bit of quick texturing i'll start with changing the view to include the 3d and 2d so we can see what's happening in our uv map and then we'll bring in the bear so file new i'm just going to leave all the defaults but just bring in the bear and we'll look in the uv mapping folder scenes and there it is bear for substance painter open and click on okay there he is beautiful little guy he's good to go and here's our wonderful uv map so the first thing i'll do is just bake all the maps there we go you don't strictly need to do that for what we're doing but if you want to go further with the texturing and you know have it work on the cavities and stuff then you might find that useful okay so let's throw some textures on him and make him look really cool right i'm going to look for some kind of fabric let's see what we've got in the materials i think i'm going to go with this fabric knitted sweater so i'm just going to throw that to the top of the layer stack there it is and then what i want to do is change the color so we'll go for something kind of brown because he's he's a teddy bear why wouldn't he be brown so let's go for a nice kind of deep chocolatey brown lovely let's just add a bit of saturation to it that looks nice very nice and let's just turn the uv scale up a little bit let's go for 1.5 yeah i like that and i only want this to go in some places so i will add a white mask to this and then i'm going to use the polygon fill tool to paint where i don't want this to happen so don't want it on the eyes there we go don't want it inside the ear and you can see as i'm doing it because of the way we set up our uv map i don't have to do it to one object and it happens on both sides and i don't want it on the nose okay so that's good next thing i'll do is duplicate this layer and i'm going to make the color lighter yeah that looks cool and then i'll add a black mask and with my polygon fill tool i'm going to paint where this time i do want this texture to be applied so in this case the inside of the ear which is just there and around the snouty area as well which i need to find oh here it is yes so let's fill this with our different color beautiful so far so good he's starting to look like a teddy bear is he not he is he looks beautiful okay next thing i want is something on his nose so let's look for some kind of leather material for this one we'll have this rough leather i think so i'm going to now drag that to the top oh nice i'm going to add i'm going to change the color to black i'll add a black mask so that it's not affecting everywhere and then with my polygon fill i'll tell it to only affect the nose beautiful and then lastly i just need to hit the eyes with a bit of plastic so let's search for the plastic in the materials and i think i'm going to go for this matte plastic i don't want it to be too shiny so we'll drag that to the top change the color to be in black and get the roughness roughly where i want it i'm mostly focusing on the buttons here not the fact that i'm creating some kind of gimp there so there we go that looks nice and then we do black mask and with the polygon fill let's uh let's paint his eyes so zoom get that and i'll just get this bit here just in case it's visible and voila we've UV mapped and textured out there so if you're any good with substance painting you now know that you could really go around and do a lot more with this in fact i will do one more thing we're not done let's give him a little tummy little tummy shape so we're going to go back to this lighter color on the mask and instead of using my polygon fill i'm going to use the paint brush and this time i'll paint directly onto the bear here he is and let's give him oh let's make sure i'm painting with the right color paint with white there we go and we're going to give him a nice round tummy oh that's beautiful there we go so he's now done so now you can export your textures out of here and put them into whichever 3d package you want to use and that brings us to the end of the tutorial well done for making it this far you must be very committed hopefully you'll now be feeling much more confident in UV mapping your 3d models using Maya if i've helped you out with this tutorial then please hit that thumbs up button it really does help me out and subscribe to the channel if you want to see more tutorials from me if you want to continue your learning journey with UV mapping then i recommend that you check out the courses on plural site they have some excellent courses on UV mapping including UV mapping game characters in Maya by Eddie Russell which is really worth a look UV mapping really used to scare me and i went through some of the courses on plural site to help me to feel more confident when UV mapping my own models if you do decide that you want to give plural site a go then use my link in the video description to get a 10 day free trial i'd like to take this opportunity to thank my amazing patrons without your support i wouldn't be able to spend as much time putting together longer tutorials like this one if you'd also like to support me on patreon then you can do so by following the link in the video description okay we're now really at the end of the video thank you so much for watching and i hope to see you again in the next one