Steps for basic UV unwrapping:
- Select all polygons.
- Apply planar UV projection just to get rid of all the current UV seams.
- Select the edges that that are intended to be UV seams.
- In the UV Editor menu choose Cut/Sew > Cut.
- Select all polygons.
- In the UV Editor menu choose Modify > Unfold.
- In the UV Editor menu choose Modify > Layout.
- Scale and rotate the UV layout to fit the UV space.
Multiple UV layouts
This post isn’t about “tiled UVs” (“UDIM”), it’s about multiple UV sets (layouts).
Polygon mesh models can have multiple UV sets. this becomes useful when the UV layout that is optimal for a certain texture isn’t efficient for different texture (in the same material).
For example, we might have a model of furniture, or clothing, in which the UV layout that is best for the fabric weave pattern, isn’t the best for dirt and wear & tear, or stickers.
In such cases we can define different UV sets for the model, each suitable for a different texture.
In this example, having a separate UV Set for the logo texture allows placing it without affecting the checker texture that is displayed an all the surfaces:
To create multiple UV sets:
- In the UV editor view, from the UV Sets menu, select UV Set Editor to open the UV Set Editor:
- In the UV Set Editor, press the New button to create a new UV Set and double click it in the list to rename it:
- Close the UV Sets Editor.
The UV Editor view now displays the new UV Set that is empty, and UV creation and editing operations will now affect the new UV Set.
- To switch to edit a different UV Set, select it from the list at the bottom of the UV Sets menu:
To link a texture to a specific UV Set:
- Make sure the texture is connected to the material set for the model.
- Select the model.
- Open Windows > Relationship Editors > UV Linking > Texture-Centric:
- Select the wanted texture from the material texture list on the left and select the wanted UV Set from the models UV Sets list on the right:
Basic UV Unwrapping
More posts about Maya
Maya 2018 | Arnold 5
An example of a basic traditional (not scanned) cloth material setup in Arnold 5 for Maya using an aiStandardSurface shader.
The shading network uses a classic angle dependent color blend to simulate the color of the cloth being washed out at grazing angle of view.
Explanation of the node graph:
- A black and white fabric weave texture that will serve as input for multiple shading channels.
* This is actually not the best example of such a pattern, and could be replaced with a much better texture.
- A remapValue node is used to set contrast to the fabric pattern (reduce contrast in this case) prior to it being multiplied with the fabric colors.
* Note that only one of the textures RGB channels is connected to the remapValue node since it’s a float (mono) processor and not RGB.
* Note that depending on the fabric texture, you may have to design different curves to achieve the right effect.
- Two colors are defined with colorConstant nodes:
A deep color as the main fabric color, and a washed out color for grazing angle view (“side color”).
- An aiFacingRatio node is used as an input for incident angle info.
* Note that in this case I checked the node’s invert option to make it behave more like other systems I’m used to (if you don’t use invert, the angle blend curve in 5 will be different..)
- A remapValue node used to set the angle blend curve or in other words, how much does the color appears washed out per change of view angle of the cloth surface.
* The longer it take the curve to become steep from left to right, the more the main color will be dominant before the washed out color will appear.
- A colorCorrect node is used in this example just as a way to convert the remapped float value back to RGB for being multiplied with the cloth colors.
* We could also connect it directly to the individual float components of the RGB colors but this way the node graph is cleaner.
- A multiplyDivide node is used to multiply the processed fabric texture with the 2 fabric colors “baking” the pattern into the color.
- A blendColors node is used to blend the 2 processed fabric colors together according to the processed facingRatio angle input.
The result is the final cloth color that is connected to the aiStandardSurface shader.
- An aiBump2d node is used to convert the fabric pattern to normal data that will be connected to the aiStandardSurface shader to produce bumps.
- An aiStandartSurface shader serving as the main shading node for this material.
* Note that under Geometry the Thin Walled option is checked so that the Subsurface layer of the shader will act as a Paper Shader rather than SSS.
* The main cloth color is connected to the SubSurface Color input.
More Arnold shading posts
Steps needed for Maya 3D Paint to work:
- Set a project folder and save your scene.
* If your painting into an existing texture you can skip this step.
- Make sure your model has UV coordinates.
- Make sure your model has a basic Lambert material.
* If you’re using a different material/shader on your model,
Temporarily switch to Lambert just for the texture painting operation,
And connect the original shader with the painted texture map to the surface shader input of the shading group after you’re done painting.
- In the Rendering tab toolbar, Double-Click the 3D Paint tool button to activate 3D Paint and also open its tool settings window.
- Make sure the object is selected.
- In the 3D Paint Settings window, go to the File Textures part,
Choose a material attribute to paint to.
* this would usually be Color because we are using Lambert temporarily anyway.
- Click Assign/Edit Textures to open the Assign/Edit Textures dialog,
Choose a resolution and a file format for the new texture,
And than click Assign/Edit Textures button at the bottom of the Assign/Edit Textures dialog to create the new texture and close the dialog.
* If you already connected an existing texture file to the Lambert shader’s Color input you can skip this step.
- Check Update on stroke and Save texture on stroke.
- Set the viewport to Textured display mode.
- Set paint brush settings.
- Click the 3D Paint tool button to activate it and paint on the model surface.
Maya 2018 | V-Ray 3.6
To set the VRaySun photometric light source diretion according to the location in the world, the date and the time:
- Select the VRaySun parent node – ‘VRayGeoSun1Transform‘ and rotate it so its Z axis points to the architectural plan’s south.
- Select the VRaySun node – ‘VRayGeoSun1‘ and in its attributes un-check Manual Position.
This will make the location / date / time parameters accessible.
- Set the GMT zone of you architectural project’s location in the world, the Date and time.
* haven’t found how to set daylight saving time….
V-Ray for Maya Physical Camera
V-Ray for Maya White Balance
Daylight system addon for Blender
Maya 2018 | Arnold 5
The Arnold Standard Surface Shader’s Transmission Scattering options can be used for simulating highly realistic volumetrically ray-traced sub-surface-scattering suitable for materials like wax, soap, milk etc.
While the Transmission Depth attribute controls volumetric light absorption within the object (fog), the Scatter attribute controls what percentage of the light will be scattered instead of absorbed, effectively creating the murky effect of semi-transparent materials.
Note that for the scattering effect to work Scatter must have a dominant percentage value, and the Depth attribute must generally be much lower (shallower) than what would create coloring without scattering, otherwise the object will continue to look transparent and lacking the internal substance that we want to simulate.
Also note that the Opaque attribute must be unchecked in the Arnold attributes of the object’s shape node for the light to be able to pass into the mesh and illuminate the volume.
*This is actually a “cheat”, because physical semi-transparency has to be simulated by indirect light calculation or caustics, but for dense volumes like wax it’s very effective and the loss of realism is insignificant.
You can simulate the effect more accurately by rendering caustics,
In that case the Opaque attribute in the Arnold attributes of the object’s shape node must be checked and more steps must be taken allow refractive caustics to be ray-traced.
Note that simulating the effect using caustics will be very demanding in Transmission samples and Ray Depth.
Maya 2018 | Arnold 5
Arnold’s Ambient Occlusion (dirt) node can be used as a procedural mask to create interesting material effects like in this example of paint that is eroded at the model’s bulging areas to reveal metal beneath it.
In this shader’s case the Ambient Occlusion node is connected to the Mix property of an Arnold Mix shader, that blends between two different Arnold Standard Surface shaders, one simulating the underlying tin metal, and the other simulating the red paint that covers it.
Note that in the Ambient Occlusion node the Invert Normals property is checked, so that the effect will create a mask for the bulges and not for the creases,
And also that the Self Only property is checked so that the node will behave as a fixed object mask disregarding the proximity of other objects.
In this example the output of the Ambient Occlusion node is also process using a Remap Value node to increase it’s contrast so it will define borders between the areas.