 Hello there, 3D artists, I hope you're all well. So, today in the second episode of Mastering UV Mapping, 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 of 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, 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 hyper shade. And we're just going to throw our 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 press 6 in here so that I can see what that's doing. So, again, now we'll get an idea of what is going on. So, you've got things looking really stretched here. This just looks awful. Wood grain is 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. I think what I'll do is just 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 width 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 select 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 mapped. 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've 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, here 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 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 sew 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 shorter 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 round, 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, you 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, planar, 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 shape. 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. And 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'll 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, I'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 in 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. It's 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 tool on 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. I mean, 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's 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 this particular episode of UV Mapping Master of the Universe. 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 Colour Map, Normal Map, Roughness Map. And then I need to link them up just here. So, I'm going to do a Colour Map and then go to my file and we're going to have Tea Wood 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 Tea Wood Normal. And click on the purple node one more time, bring in the Roughness Map. And this one's going to be Tea Wood 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. 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 as Substance Painter. So this is perfect. So hopefully you've learned something from that. So we're now at that part of the video where I want to say thank you to my patrons. Each and every one of you, guys, helps me to keep doing this and making it free for everyone. I am committed to never charge for the tutorials that I'm putting on YouTube. I also want to keep offering all the resources that accompany them for free, and everyone that supports me on Patreon really helps me to do that. With that being said, I want to say hello to JT, who is my latest patron, who joined on November the 9th. Thank you so much for your support and thank you to the support of all my current patrons. I can only cover so much material in these videos. If you're needing to learn Maya quickly and get some real depth, then my recommendation is that you sign up to PluralSite. I'm a member of PluralSite. I learn a lot from it. It's a really good platform, and the tutorials are insanely in-depth. If you want to get a 10-day free trial to PluralSite, use my link in the description and just sign up. Jobs are good. Okay, we're pretty much done in this video. I think in the next one, we're going to do a slightly trickier object to UV. I think we're going to do like a wiggly hose or something like that. So make sure you're subscribed if you want to see that. And I hope to see each and every one of your beautiful faces in the next video. Bye.