00:00:02
El Unwraping de tipo UV es para mi un mal necesario.

00:00:07
Basicamente en el 3D, si quieres realizar texturas complejas para los MESH tienes que coger la informacin 3D y luego hacer UNWRAP. Para de esta manera tener puntos de informacin 2D que puedes usar para la textura.
And basicle in 3d you have to do is to enogut to texture really complex meses you take your 3d information and then unwraping to get some kind of 2d information that you can use to texture layer on.
Vamos a empezar con la pieza que corresponde a la cabeza.

00:00:37
And now the UV unwraping in blender is a bit diferent compare to back then, back then will still the face select mode an now everithing that you see here is basicle than in edit mode. What is not really that diferent ist just a diferent way of axis in all the stay all So basicly now I just press 'U' and UNWRAP that.

00:01:27
So the LSCM unwraping tool basicle works like a lets take a real for example specially you like just take your scissors off and you cut on two piezes and then you pen this piezes on your table using pens and that basicle are works here. In the UV editable  we ussually pen single vertices and just pressing down 'P' and then by peaning in moving a groups of this vertices we can just define the shape  of (INCOMPRENSIBLE "arrows") unwrap. 

And this case i didnt have the mirror modifier Applied at first. 

00:02:08
So i have to do that layer on some cuts some loops here and in order to well i set the first to cut o your scissors that wer doing here. we are marking  some sings long with the UV unwraping well layer on piezes to cut for me ("TADAR" IMPOSIBLE)

00:02:40
If you have a model like this its really good to know where to hihg the sing  usually when you modeling something inorganic like or clothes you can actualice higth sings in the places where the  really wear sings are. for example in proobs jackets in elephant dream math usually all the sing in the sings of the clothes. Thats very cool.

00:03:18
Now Im unwrapping again, and you can see I separate the top secction and the side section here.

00:03:31
Ya tenemos aplicado el modificador Mirror. Ahora podemos seleccionar de manera separada las piezas de la cabeza.Mirror, porque de esta manera podemos separar las piezas. As podemos texturizarlo separadamente.


 Hay algunos cortes aqui que hay que corregir y que marcar. Esta es la nica manera de realizarlo meshs by mesh. Unwraping...

Ahora el frontal est separado del lateral y puedo texturizar el forntal de forma independiente.
With this all the show an a close I have to put it fairly baked on the UV layer at. 

I usually going to show the side very PRONUNCIADO Tengo texturas diferentes and I Couldnt have mirror in the uv use so same have a texture.

00:04:48
Im Peaning this vertices and i can selected then using 'Shift P'. 'Shift P' only selected the pean vertices and here I takend the middle peace and actualice putting in the middle.

Tryng to find the arrive to plays on the UV layer. And since I have all this points already cutting two piezes your a ("ciggar" IMPOSIBLE) and Why not putting over the another and thats try for kind UV texture anyway.


00:05:27
Thats really trikits off, so I will attenting here to pin on this vertices and then  to scaling there UNO CON EL OTRO.

What in this case resalt on mirror case.


00:05:52
Im now Putting in the middle.

And put the middle pieze on the mieddle. And that is what you thinking, estoy desmarcando los cortes otra vez y uniendo otras de nuevo. Es algo normal.Todas las maracas estan disable en la parte frontal  descosiendo de nuevo.

00:06:32
Voy a recalcular el UNWRAP. usando 'u'. Hay una pieza desconectada que no me gusta...

Coso de nuevo la parte central, y tengo la parte del medio en el medio y las laterales separados, todos contentos.

00:07:00
I usually touch the fornt piece to the top part here. So I list have some starting point down where to base to where these sin conected. Because exfol  wear your texture its extremly use for to know wich part of the model your are texture on. 

00:07:24
Becase if you have this layer sprader on into the 3d hard to figuer wich point are you actualy join on right now.

00:07:36
So thats Why its really exfoll to thats just really clean exfol Unwrap.

00:07:47
Useally this Manualy tich some of the strechting here.

00:07:51
down on the back side

00:07:53
Then I just continue the process with the other pieces too.

00:09:20
Im going to ignore all the theets in my UV maps, and instets that to gona be a very basics material on node texture. 

00:09:27
So tats wire just had to sleep the tongue from the side of the mouth open. Just the ramstein youll be nice to be the texture on layer on.

00:10:05
Thats set are very... its crusial that you know where to have your signs. Because eventually you going to have sings in your UV unwraped invisible. But usually scale to higt in some placement there are occluded by other part of the mesh. In that case there are under the tongue or that set in the middle of a nature see maybe, or in the backside of the caracter.

00:11:12
And here I just try to make sure that everything is nicely proccessing on the study layer out. Something have to find every piece of the mesh layer on and the texturing. Usually for texturing use the UV export option.

00:11:53
For Texture the creature factory, Im Baking the texture for ambient occlusion.

00:12:34
For render this UV island, is extremly important to keep the relative sizes of the pieces, and the relative proportions of the little island. You have the same sizes because you may be painting one details, and maybe more big than in another place. Por eso hay que tener mucho cuidado con las proporciones de cada una de las piezas, por el tamao de los detalles que pueden desverlar errores en los tamaos tomados de cada una de las piezas.

00:13:50
The size of the textures are so really important. Just can imagin so zoom, you can see that a colormap basicle that are you see on screen, that one pixel that you see on the screen has to correspond to a one pixel on the texture. So for instans in this case with the SPYNET its not really necesary close up. In most case 124 pixel resolutions texture must was enougth. But for thing that the helmet texture, got a really higt resolution.

00:14:34
And agin the rule of thump of bump maps is refly that what one pixel on the screen what a should be two pixel on the bump map. So your bump map always have to be double side of the color map ideable.

00:15:47
Here for more easily parts youll be unwraping is pretty quik because most of the time of focus would be on the head of the creature on the fornt part. Here I would be more sloopy in the back there. 

00:16:42
Ahora podemos empezar a texturizar.