Blender Materials Series 1.2 The Process Of UV Mapping | Joe Baily | Skillshare

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Blender Materials Series 1.2 The Process Of UV Mapping

teacher avatar Joe Baily

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (59m)
    • 1. Welcome To The Class

    • 2. How Do UV Maps Work

    • 3. Basic UV Mapping

    • 4. Multiple Maps Per Object

    • 5. The Process Of Marking Seams

    • 6. Using Generating Texture Maps For Stretching

    • 7. Exporting A UV Map

    • 8. Exporting A UV Map Part Two

    • 9. End Of Class Challenge

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About This Class

Welcome to this class on learning about the application of materials in Blender 3D. This is the second class in our material series and focuses on a process called UV mapping.

When creating a 3D object, we 1st of all create the model using various different object types, the most prominent of which is the mesh object. When you finish the modelling stage the next step is to create a material. Now if you want to use a single color then that's easy. But if you want multiple colors, text, additional images on your material, like on the cover of a book, then things get a bit more complicated.

So much so that Blender would struggle to interpret exactly how to apply your texture to the object. It needs to be guided to where you want that secondary color, or that book title, to end up on your model. That is where UV mapping comes in. It allows the artist to guide Blender by creating a UV map, a 2D representation of a 3D image. By mapping the model onto a 2D plane, you can then apply your image texture by using the UV map as the foundation.

By the end of this class students will be able to do the following....

  • Locate, Add, Delete and Name UV maps

  • Mark seams to control exactly HOW an object may be unwrapped

  • Understand the importance of avoiding stretched textures and how to preview using generated maps

  • Export UV layouts to other software and create more detailed textures before using them for the final model

We hope you enjoy this class on learning how to use  UV maps to create better textures in Blender

Meet Your Teacher

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Joe Baily


My name is Joe Baily and I am an instructor for 2D and 3D design. I specialise in 3D modelling using software platforms such as blender and 3DS max to create virtual models and assets for video games and animations.

My alternative job involves teaching sport and PE in schools and so I have 1000's of hours teaching experience in multiple various fields. My goal here is that I always find great instructors in websites like youtube who are great but never give out enough content to really satisfy my own hunger for learning. Therefore, my goal on skillshare is to provide comprehensive quality teaching on any subjects that I cover, such as blender 3D.

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1. Welcome To The Class: Welcome ladies and gentlemen to the blend up material Series Volume 1.2. This class is the second volume of elements here we'll series and is designed for those who have a basic knowledge of material application. And once you learn about using UV maps to apply textures to their materials, it is recommended that before you start the class, you have an understanding of how materials work or have completed volume 1.1 in the material series. By the end of this class, students will be able to do to following. Students will be able to locate where UB maps are in Blender and how they work on 3D objects. They will be able to manipulate UVA's by using tools such as blushes and transforms. Students will be able to use a variety of different methods for you, the unwrapping. They will be able to export UV maps to of AP programs. Externals are blender. They will be able to mark seems to create their own custom UV maps and be able to apply multiple UV maps to a single objects. Let's get started with creating a UV maps for our materials in Blender. 2. How Do UV Maps Work: In this first lecture, we're going to be answering a couple of very important questions. The first question is, what exactly is a UV map where our UV maps located? And what are UV maps used for? Well, a UV map is a two-dimensional representation of a 3D objects mapped out onto a two-dimensional plying. The main purpose of a UV map is to allow your 3D modelling software to know where you want to apply textures. The UV maps of a freed objects in Blender are located in the UV editor. The UV editor can either be accessed by going up to the top corner of the Covent editor type and left clicking and then finding UV edit up form this menu. You can left-click to bring in the UV editor. Alternatively, you can also use the UV Editing workspace. The UV Editing workspace is located up here. Left-click to move to the UV Editing workspace. In this workspace, the object is transferred from objects mode to edit mode. While in edit mode, we can see any UV maps that have been created in the UV image editor. What you see here on this side of the screen is the UV map for our cube objects. Or the primitive objects have a UV map creative by defaults. Now it should be noted that this UV map is only good 4D object in its current state. If I was to make a change to the shape of this objects. For example, if I was to select this top face, hit the icky to insert, and then e to extrude. And then press i to select my whole objects. Once again, you can see that the UV map has been updated in real time. But it doesn't really know how to update. A problem that we instantly have here is form of this extrusion. We have the four side faces that have been created. So these faces here. But we only see this face and not these faces. So you can see that this face when selected, appears just as a simple line in our UV image editor. This means that when we attempt to texture this object, these faces are not going to be textured correctly. I'm going to hit control and C several times to undo this operation until we are left with our default cube. Now, how exactly do we use a texture map or UV map to apply a texture up to our 3D objects. Let's give an example. So I'm going to come up here and click on the new button in the UV image editor. This is going to allow me to create a new image. By clicking, I bring up the new image menu. I can change the name of this image, which I'm just going to rename as test for now. I can also adjust the width and height values. I'm going to keep these set to default, as well as the other values below. For now. I'm going to click OK. And she will see that it appears to have zoomed in on our UV map. So we just scroll down on our scroll wheel to zoom out. And we can see that our UV map now has a black background. From here. What I will do next is I will change from the UV editor to the image editor. So I'll come up to this button here to change my editor time and change to the image editor. From here, I'm going to click on this View drop-down menu here and select paints. Then I'm just going to paint just a few dots on each of our faces. So I'm just going to left-click in each face so that we get a white dot on each face. Then I'm just going to go straight back to my UV editor. So in the UV editor, we can see that we have a very basic texture. The base color is black, but we have white dots on each face. The problem is in edit mode. We can't see this. Even if we go to our material preview, the fue por shading, the object. If we go into objects mode is still just the base color. This is because we still need to apply the texture to the material associated with this objects. To do this, I'm going to go to the shading workspace and then zoom out in this node editor. I'm going to left-click away from the two nodes that are already present with this material. Hit shift and I. And then I'm going to click on this search bar. I'm going to type in the word image. And that's going to bring up the image texture node. I'm going to left-click and position. I'm then going to connect the color outputs to the base color inputs, the objects, and now appears black because we don't have any assigned textures with this node. To assign a texture, click on this Browse menu, which is located next to the New button and select test. You can now see in the 3D view port that the texture has been applied to our objects. You will also notice we have one white dots on each face. This is how UV mapping works when it comes to using free de, objects. 3. Basic UV Mapping: In this video, we're going to be editing the test UV map by manipulating the individual faces of our key. Now we have our test UV map here. If we want to select our geometry or we, once you select the UAVs in our UV editor, we can choose our method of selection up here. So we can choose either vertex select, edge, select, face, select, will island, select. For this. I'm going to choose face selects. I'm going to left-click and then hit g. This will allow me to grab and move the selected face. So I'm going to move this over here. Now that seemed easy enough. But if I left-click again on another face and hit G2 move, you can see that the faces are actually attached to each other. Now this makes things a lot more difficult for creating the UV map. So what I'm going to do is I'm going to show you how to UV map each individual face, starting with the top one. Now this is a much longer process then what you will eventually be doing and also a much more tedious one. But this video will cover the basics of creating a UV map. So with this top face selected, I'm going to hit the UK and select unwrap. By pressing the UK, we bring up the UV mapping menu, which has a variety of different options. But for now, we're just going to choose unwrap. I am going to repeat this process on all of the other faces of my cube. So select, you, unwrap. You can see the change of orientation for our image texture for this face. Select, you, unwrap. I'm going to continue this on all of the different sides of my key. Once I've done that, I'm now going to, again attempts to reposition the faces in the UV image editor. Left-click on the first face, hit g, and just move it outside. You can see that we only have one face now in the UV editor. That's because we have only one face selected in the free DVI port. So i'm going to press the a key to select everything. Then I'm going to left-click, Hit G and position. Left-click G position. And I'm going to do that with each of my faces. You can see that by unwrapping our object, this white face by face creates a series of individual islands that are disconnected from each other. Now, we're going to remap these so that we get one per white dots. So I'm going to start by selecting this face. What I can do now is I can begin positioning and scaling the faces. Now what I want to do first of all, is I want to scale all of these faces to a more suitable size. What I can do is I can select all with the faces in the UV image editor by pressing the AK. I can then come up to this option here, this is our pivot menu, left-click, and then I can select individual origins. What this will allow me to do is when I press the Esc, it will allow me to scale them altogether at the same time. And it will allow me to do so correctly. If I was to use a different pivot points, they the median point and hit the SKA to scale. It would scale them all to a specific point. Now this is fine because we're going to be moving them anyway. But I find the individual origins option to be more useful for editing my individual faces. So I'm going to hit the S key once again. And to scale things down to something like this, then I'm going to take each individual face and position them on the UV map. Now because all the sides are basically going to look the sign, it doesn't really matter in this example. Which face goes where? And then one more to go here. And then just zoom in. Maybe it should bring this into the sensor a bit more. And there we go. So now the results on the object itself is a lot more like what we had before. Now as we go through this class, you're going to find much more effective methods for creating your UV maps. But this is really the absolute basics of being able to create a UV map from individual faces and then use basic Transform tools such as grabbing and scaling to position your faces, to map out your texture. 4. Multiple Maps Per Object: In this video, we are going to be looking at how we can create multiple UV maps for a single objects. Now your list of UV maps can be located in the Properties panel. Go to the object that data properties located here, and then select UV maps. You will then get a list of all of the UV maps that you have created for your objects. Right now, we only have one map. But what I'm going to do is I'm going to delete this map. To delete the UV map, click on the minus button located here. Remember how our UV map currently looks. Click on the minus button and two things happen. One, the UV map disappears from the UV image editor. And to the texture no longer appears on our 3D objects because blender no longer knows how we want to apply the texture to the model. We're now going to add a new UV map by pressing on the plus button. But watch what happens to this UV map. If you first of all, look in the UV image editor, you will see that all of the individual faces have now basically be mapped onto the same location. Each face now maps are across the whole image texture. You can see evidence of this in the 3D view port. Each of the individual faces now shows all of the white dots that we created. Now we're going to add a Nava UV map. So I'm going to once again click on this plus button. And this is going to give us UV map dot 001. I'm going to rename this by double left clicking and naming it as test. And then press Enter to view a UV map. Click on the camera icon next to it. Only one UV map can be viewed at a time. So left-click to choose the test UV map. 5. The Process Of Marking Seams: In this video, we are going to be creating a novel UV map by using seems. Seems are a much better way of creating UV maps than just unwrapping individual faces. So what I'm going to do is I'm going to just add a new UV map. And I'm going to rename this UV map as seeing. Then press enter and make sure that this seem a map is visible. Now if we've hit the tab key and then press I to go into edit mode. You can see that the CMA Map is just a copy of the test map. What we're going to do here is we're going to start adding seems to our model. Now a scene is effectively an edge where you want to cut up your objects. So I'm going to go into Edge select mode. And for now I'm just going to select this face here. If I hit Go to the EU, the menu, there's an option down here that allows me to mark a scene. I can also hit the right mouse button to bring up my edge context menu. You will find the mock scene option here as well. This might be a little bit faster, so right-click and then select mock scene. Let's see what happens if we try to unwrap the whole object. So hits you and then select unwrap. It doesn't even look as though we have unwrapped model, but we actually have, it's just a really, really bad one where the map only takes up this very, very small section of the image texture. So marking a single scene doesn't do us any good. Let's try marking to more seems. So maybe I want to select this edge here and shift select this edge here. Right-click and select Mark seen by now have free seems on my object. Seams are highlighted red to make it easy enough to spot which edges are marked as seems in the 3D view port. If I press I, then you then unwrap. We get something that looks a little bit more like a UV map. Now, this face, he represents the top face of our cube objects. So before I create anymore seems. Let's take a look at exactly what is happening here. How have we gotten to this point? Well, if I just go into phase selects, we have this top face. You can see the top face here in the image editor. So this is being UV maps correctly. If we select the whole objects, we can actually distinguish which of these edges are our seams. So this edge located he is actually if we take a look at our object, this edge here, so this was the first edge that we marked as a scene. Let's just mark that here. So this here was the first edge. It is the same edge that you find he. We then created two more seems, he and he. These edges are represented here and here. Because we create the seams, we tell blender that we don't want. The faces either side of those seems to be connected. That's basically what we're seeing is it's something that's hellos blender that the faces either side should not be connected to each other with the UV map. So the only age with this top face that is connected to the rest of our UV map is going to be this edge here because we don't have a seam applied. Now, knowing this, can we actually improve upon the map that we have created, it's clear that more scenes of acquired. Well, let's try a couple of things. So let's first of all selects maybe these two edges and mark these as seems. So by marking bases seems, we separate this face for the two faces either side. Let's try creating another UV map. So we're going to press the UK with the objects selected and hit the unwrap button. Now we're starting to get closer and closer towards a workable UV map, but we're not quite there yet. So this time I'm going to select this edge. And maybe this edge. Right-click mock scene. It, I hit New and select, unwrap. We're getting closer and closer. But it seems as though I didn't actually mark a scene for this edge here. I want to separate these two faces. So let's just find the appropriate seem. I believe it's this one here. Right-click and mock scene. Let's try that again. He, you unwrap. And there we go. We've got ourselves a functioning UB map that we can work with. Now it's not the exact same shape as our original UV map that we had with our cube objects at the start of the class. But it is something that we would be able to work with. So we could do things like, for example, select our entire UV map. We can grab supposition. We can hit R to rotate. So maybe minus 90. We can just 90 degrees Hit G position. As the scale, et cetera. So knowing how to mark seams and creates a UV map, the question now is, can we reshape our UV map so that it looks exactly as it did earlier. Why want you to do now is I just want you to pause the video. Have a look at your fruity objects and think about where you could reposition the scenes. Don't do anything. Just think about where you could reposition your seams that we can use to map the texture. Ok, well what I'm going to do here is I'm just going to create one more UV map, would just kind of keep that one. We're going to rename this as T-shape. Press enter, and then make sure that's viewed. And now what I'm going to do just to make things simpler, is I'm going to clear all of my seams and start from scratch. You won't want to do this with a more highly detailed objects. But because we're just working with a cube, we can just get rid of our seams. So to get rid of your seams, select your entire object, hit the right mouse button, and then select Clear scene. If I attempted to UV unwrap my object now with you, and then unwrap. The unwrapped method is effectively the same as it was before. So why has this happened? Well, this has happened because whenever we don't have any parameters used to define our UV maps, blender is simply going to use the previous sets of parameters and create a map from those. In other words, it's still used the seams from our scene UV map to create the UV map that you see here. Let's move on to just recreating our new UV map. So I'm going to go one to free. Right-click and select mock scene. I certainly want that to start with. I want this to be basically the top face. Then we're going to move down to here. And this is actually going to be the second face. So what I want to do is I don't want to create seams here. I want to just move on to these here. One-click mock scene. And then I want to select this one, and this one Right-click mock scene. So what should happen here is if you imagine this as the top face, for example, it will come down to this face here. And then this is actually connected on all four sides. So this should create a T-shape with this as the center point. Let's test to see if this is worth. So we'll press I, press U and then unwrap. Perfect. So now what we can do is we can hit the RP to rotate. Let's rotate it by 90 degrees and press enter. Then hit the G key and position our UV map to about here. So let's review what we just did. We first of all created free seams up here. This allows us to cut apart the top face of r cube. If we go into phase, select and select this face, you can see it located here. The second face than here, which is the only phase connected to the top one, is this one. Now, for this face, we don't have any seems at all. So we're telling Blender, we want all of the faces connected to it in the 3D view port to also be connected on the UV map. So we have this face here, and we have this face here. We also have this face below. Now, this face has seems he and here to make sure that it's not connected with these two faces on either side. But it has no scene. He, which keeps it connected with the next face. If I just go and select that face again, you will see that this is the bottom face. Once again, this phase has free, seems to ensure that it's only connected to this face here. Now that might be confusing at first. But what I want you to just do now before moving onto the next video is just try out. The process of marking seems with some of the other primitive objects, such as the UV, sphere and cylinder objects. Think about the different locations in which you can mark the seems to create different UV maps. Complete that little task. And then I will see you in the next video. 6. Using Generating Texture Maps For Stretching: In this video, we are going to be looking at how we can use some of blenders avert base textures to help us indicate where any stretching or abnormalities might occur on our UV maps. So the first thing I'm going to do here is I'm going to unlink might test image texture from the UV image editor. I can do so by pressing on this cross button. He, this gets rid of our image texture in our EV editor. I'm also going to disconnected form our cube objects by going to the shading workspace, zooming in on my test texture here, and just clicking on this X button. This gets rid of the image texture on our object. I'm going to go back to my UV Editing workspace and click on new. I'm going to rename this image as UV grids and press Enter. I'm going to keep the width and height values to sign. And the color isn't going to be important here. Because below that, we have the option of creating a generated type. It's currently set to blank, which is what it was before. But if we left-click, we can see we have free options. Blank, UV grid and color grid. I'm going to select UB grid TVs to as antics and select Ok. Zoom out. And you can see this UV grid texture that has been created on our UV map. If we press the a key, we can see this in effect on our entire UV map, but it's not been applied to the 3D objects itself. Before I do this, I'm going to show you the third generated type, which is the color grid. So I'm going to unlink the data block, select new, name this as color grids. And then change g generated type to color. Then select, okay? And this here is our color grid. Now you can go with either the UV good or the color grid to give yourself an idea of how a texture will be applied to your objects before you actually apply that texture. For example, say if you were creating a tree and you wanted to use a bark texture, you would want to create your UV map. And then create one of these generated texture maps to preview any stretching that might occur on your model. Well, I'm gonna do is I'm just going to go to this Browse menu and I'm going to select my UV grid. So you will notice that even though we unlinked the texture from the UV image editor, it doesn't delete the texture itself. We still have access to them in this list here. So I'm going to select UV good to bring back the EV grid. And now we need to apply this UV good texture to our object. We already know how to do that. We just go shading. Go to this button here, and select UV grid. We can now see the UV grid on our key. So why is this so useful? Well, let me give you an example of what happens if the shape of your UAVs is incorrect. If it's just too long or just to show, I'm going to select one of the faces. So if I select this one, let's try this one here. We have this face selected. What I want to do is I want to take this edge and push it back to about here. So I'm gonna select my entire model. And then I'm going to go into Edge, select, select this edge and hit g to grab and reposition. I can lock it to the x or y axes in the UV image editor. So I'm going to look at to the x-axis and bringing in. As I do this, you will see the stretching that occurs on this face of r cube. This is exactly the sort of thing that you're going to want to avoid. You can also go the other way. So g x, making sure your in the correct edits assign g x and then make it too long. And you see we get the opposite effects happening here. You don't want either of these. You're going to want all of the squares that you see on your texture. So be exactly that. You're going to want them to be squares. You're going to want them all to be roughly the same size as each other. I'm going to hit Control and see a couple of times just to bring that back to normal. And now I'm going to show you a number means of checking to see if your individual, you, These are being stretched or not. So what I'm going to do is I'm going to come up to this button here. This drop-down menu represents our overlays. I'm going to left-click to bringing this menu. And the first option that I have is to display stretching. If I left-click the individually, these are filled in with this blue color. Now the y direction works in Blender is if you see a blue car, it means that there is no stretching going on. You'll, you, these are basically exactly where you need them to be. However, as this color transitions to green to yellow to red, that indicates stretching to a more serious degree. Where is the most serious? It's where the most stretching is occurring. And basically you always want your UV map to look like this. You want it to look blue? If I was to once again select this edge here, hit G And then x, and then move in. You can actually see that there is no stretching going on at the moment. And the reason why is because we actually have this set angle. We can also set this to area. So if I hit G, Then X and bring this in, you can see that the further we bring it in, the closer it gets to read. This indicates that more and more stretching is occurring with this specific UV compared to the other UAVs for our image texture. When working with more complicated objects, you may find areas on your UV map where you just can't avoid stretching. One thing to try here is to experiment with you these in the area where there is stretching and Mark a few scenes in those areas that may or may not help to alleviate the stretching issues. The number one cause of stretching is the incorrect placement of seams. Before we move on, I'm going to just demonstrate one other example. What I'm going to do here is I'm going to scale y cube on the z-axis. So we're going to have an incorrect scale value that has not been applied. I want you to see what happens to our image texture when we scale this in objects mode. So I'm just kind of hit n to bring up my side panel. Then hit the Tab key to go into objects mode. Hit Esc to scale C to lock it to the Z axis. And then I'm going to use a value of four and press enter. You can immediately see the problem with our image texture. It's being stretched on all of these sites. This is not going to be good for any texture that we would want to add later on. If we hit the turkey, however, to go into edit mode, you can see that blender is not able to realize the stretching that is occurring. Our UV map just looks the same as it did before. Even if we were to attempt to unwrap this object, again, the only change that occurs is that our UV map is rotated. But the proportions of the individual faces are as they were before. They haven't been changed too much the proportions of the faces on the object in the viewport. And it can't even find any issue with stretching in the UV image editor. These are all issues that occur. You do not use default scaling. So if we go back into objects mode for our cube object, you can see we have the scale values or 114. We're going to need to apply at this scale. So hold down Control and press, I, bring up the apply menu and then select scale. This resets the z value back to one. But it doesn't do anything to, to freely object or the texture. There is a change DO if we hit the Tab key to go into edit mode. You can now see that blender confined that there is stretching occurring with these UAVs. They're no longer that deep blue color. Some of them are light blue and two of them are actually yellow. To indicate that there is a lot of stretching going on on our objects. What this now means, however, is that we can unwrap our objects one more time by pressing you and then selecting unwrap. And this time blender is able to calculate the you these correctly and creates a UV map without any stretching, either in the UV image editor or in our free de viewports. 7. Exporting A UV Map: In this video, we are going to be creating a new UV map of a book objects. We then going to export the UV map to an external software such as Krita to create a new texture and reimport that texture back into blender to use on our objects. So the first stage of the process is to create the object is self. I'm just going to go into object mode for my towel object that we have here. And I'm going to press on this icon here to hide the cube. Then hit shift a mesh cubed to add a new one. I'm going to scale this to 0.1 on all three axes. And then I'm going to go view and frame selected to zoom in on our smaller cube. From here, I'm going to go into fun orthographic view. And I'm going to keep this set two points, six on the x-axis. I'm going to keep it sets of 0.1 on the z-axis and on the y axis, which you see it to a value of point CO2. So these are the general dimensions I want for my book objects. I then need to apply it the scale. So hit Control and I and select scale. Then we're going to go into edit mode for our book objects, you can see some stretching is occurring, but that's absolutely fine. We haven't created all of our geometry just yet. Well, I'm going to do is I'm going to enable something known as UV sink selection. I can do so by pressing this button here. This will allow me to move out the selection between the 3D view port and the UV image editor. If I select this top face, you can see the same face being selected in our UV editor. If I select this front face, you can see which are the faces again, are selected in the UV editor. So I'm going to do using my front orthographic view as a guide. I'm going to select this face, this face, and this face. I'm then going to hit the icky and create an inset of these free faces. This creates a seam going around the outside of my book. What we now need to do is create the actual seams so that we can successfully UV map our book with its covers. Now think about where you're going to apply these seems. You're going to want to create an island in this example for just the pages. So we're going to need to create seams going all the way around. There's silence and easy way to do that form. This point is to just go into Edge selects, hold down the Shift key. And these select this edge. The bottom and this edge at the top, that should leave you with all the seams that you want for the pages. So hit control a and select mock scene. We then want to make sure that the unmarked is as simple as possible. We can do this by creating seems for the actual top bits of our cover. So we're going to do something similar, which is going to hold shift. And we're going to select all of the outside edges on the top. The two at the side. I'm just going to zoom in a bit so that you can see a bit more clearly what was going on. And then the free at the bottom. Then hit control and E and select mock scene. We should now have all of the scenes that we need to create the UV map. So hit I on your keyboard to select everything, hit you and then go unwrap. You can see here in the UV image editor that we have free islands, the cover, the seams at the top side and bottom. And then the pages. Before we export this map, we need to, we position these islands. I'm going to do this by turning off sync selection and then going to islands select. I'm going to start by selecting the pages which are these free faces here, and rotate by a value of 90 degrees. Then I'm going to reposition to the top of my UV map. Next, I'm going to take the seams, rotate by 90. Hit G. Then why to look to the y axis and just position to about here. Finally, I'm going to take the covers, rotate them or by a value of minus buoyancy, and then press Enter. I'm going to we position is here. And then I'm going to scale this up. Now when I scale this up, you're going to see that stretching begins to occur. But this is fine in this example. Because the pages are going to be textured at different color, I'm actually just going to be a single color. The scene is going to be a single color. And the cover itself, front side and back is going to be one color with a little bit of text. What you're going to find is that this is not going to be a problem for the simple texture that we are creating. Plus, if you change your display to highlight from areas who angle, you will see that they are all dark blue. And to be honest, the stretching 40 angles is more impactful on your texture maps than the area type of stretching. So we have positioned all of our islands. You will notice that we previously rotated at the cover by minus 90 degrees instead of 90 degrees, so negative instead of positive. The reason why I did this was before I go into my funds orthographic view by pressing one or my number pad. Just the selective within. And then select the front face with the UV sink selection active. If I select the front face, which I can do by going into face select and left clicking. You can see it's located here. So I want the front cover to be here, the side here, and the back. He front, side and back basically in reverse order to what you would expect. The reason why is if it's rotated the opposite y, then it may be applied upside down when we add the texture to the model. So what we're going to do now is we're going to finally export this UV map that we are created. I'm just going to get rid of the UV good texture and also disable the stretch display. And this is basically what we are going to be exporting. One final thing before we export UV map, I have found a potential bug where if you try to export a UV map with the UV sink selection tool active, then it doesn't import successfully in Krita, which is one about to use. I don't know about the other software programs like Adobe Photoshop, but in the case of Krita, it seems to not be able to import UV maps where this option was enabled on exports. So I'm going to turn this off. And then I'm going to press a to select everything in the 3D view port so that we can feel our free the object in full on our UV map. Next, we're going to finally export the UV map by going to the UV menu. And then coming dance where it says export you the layout. We're going to left-click. And then we're going to decide where we want to save what UV map to. I'm just going to go to my desktop and I'm going to save it as book you the dot PNG. Then click Export UV layouts. Next, we need to go over into quitter or the software of our choice to import the UV map. 8. Exporting A UV Map Part Two: So here we are in Krita. We need to now open up the UV map that we exported form Blender. We can do so by going open file, locating our PNG file, which is located here on the best hope for me. So book UV and select open. You should now see something like this. Notes that when I mentioned in the previous lecture about the issue with UV sink selection, if you did attempt to export a UV map with UV sink selection enabled, you would not be able to see the UV map itself he in your transparent image. So now that we've got our UV map, we can create a text up based on this map. What I'm going to do is I'm going to add a new layer. So I'm going to come down to this button, left-click, and I'm going to select a paint layer. Then what I'm going to do is I'm going to select the fill tool, which is located here. And then going to select a color, which I can do here. And I'm just going to choose a sort of musty Brown Karl up for the pages. Click OK. And then left click anywhere within the confines of the page, you these, if I do that, you can see that it fills up all the space inside of the UAVs. So it's actually using the UV maps to feel certain parts of the texture. I'm now going to change this color to a more bluish color. So let's go something like this. And then click OK. And now let's fill up the seams and then the cover. So we now have the base color for both the book cover, seams and pages. Before we send this back into Blender, I'm just going to add some text because what we've done here, we could quite easily do in Blender. But adding text to a texture is something that we just can't do yet, at least in Blender version 2.91. So I'm going to add a text object by clicking here. And then creating a box to position my text in. And then I'm going to type in the title of my book. So I'm going to use how to learn blender as my title. I'm going to change my font to Arial and increased the size to about 36. Now I need to change the color as well. So I'm going to change this to white. Click save at the bottom here, and then close. Then I just need to reposition that text objects to about here. Let's also take this text objects and create a duplicate. So I'm going to right-click and select copy, and then right-click again and select Paste. I'm going to take this text and position here. And then I just want to rotate it. So if I right-click to bring up the same menu, I can go transform and rotate 90 degrees. So now I've got some texts for the front cover and also decide I'm just going to keep the back cover blank for the sake of time, but I'm going to finish by adding a little bit more text on at the front. So I'm going to create another text objects here. And I'm just going to use my name. So by Joe Bailey. Again, we set that to aerial. This time I'm going to go with a black color and increase the text size to 16. Hit Save, then close. So I will position about here. And there's my texture created in Krita. Next, we need to save and export this image. But before I do that, I just want to hide my first layer. The first layer actually created the UV map itself, so it projected all of the seams of the UV map. We don't want those seams on the actual texture. So we're just going to hide our first layer. Then we're going to go file. And you don't actually need suppress export here. You can just go save as and save it as a PNG file if you're using Krita, I'm going to say this as my book. See OL, short for color. So this is my color image texture. For my book objects. I'm going to click save. And you'll get some additional options here. I'm just going to keep these as default and click OK. Next we need to go back into Blender, where we can import this image texture that we have created. So we are back in Blender and we're just going to bring in the image texture that we created form Krita. We're going to go open, locate the file on our desktop. You can see I've got it named as book, COO L dot PNG, left-click and open image. So we now have the texture for our image in the UV editor. We just need to apply it to our material. So it goes to the shading workspace and just zoom in on our objects, then click on new to create a new material. I'm going to name this as book. Then I'm going to hit shift. And I to add a new node in my note editor, goes Search, type in image and select image texture. I'm going to position and join up these two nodes. Then I'm going to click on this browse image to be links button and select book, COO L dot PNG. As soon as I do that, you will see that we have been able to apply our own image texture to our objects. So if you were able to do all of that, congratulations on being able to create your own UV maps, export them, and even usual UV maps to create new textures in other programs like Crito, you've now learned all of the fundamentals for being able to UV map any mesh objects in Blender and create a texture for that specific objects. All it's left now in this class is to finish off with a challenge to test your skills. 9. End Of Class Challenge: Welcome ladies and gentlemen to the final lecture in this class. This is our end of class challenge, where we will test the skills that we have developed in the blend up material series. For this challenge, you must complete the following task. You want to download the dot blend file and create custom UV maps of all three of the mesh objects in the file and apply a texture to each of these objects. Things to consider as you complete this task. Where are you going to place your seams on the model? Remember that the positioning of your seams will dramatically change the final shape of the UV map. Will you create a tech shop in blender or another program? You can go either way. You can create a texture in blender itself, or you could use crater and use the tools there to create a new texture for your UV map. How many islands do you think he will need to create? The more islands you create, the easier the UV map is going to be to form. But the less connections between faces there will be. Do you need to use placeholder maps? So for example, do you want to use a checkerboard map to get an idea of exactly where your UV map is positioned on your object. And test using multiple UV maps, decide which is best suited for the objects. Don't be afraid to try some of the other methods of UV mapping, such as qp projection or smart UV project to create different EV maps. See which of these maps is going to work best for you. Also create multiple UV maps. Positioning seems in different places. You don't always need to delete the UV maps that you create. You can use as many issue require. Complete that task to complete this volume of the blend of material Series. Thanks for joining us guys, and I hope to see you next time.