Graphics Programs Reference
In-Depth Information
Note
Another great way to get your UV map into
your paint program is to export it as an EPS
file. Go to the File | Export menu and select
the Export Encapsulated Postscript option.
You can determine which viewports Modeler
will export (in this case, we'd simply use the
Texture UV view). You also have options for
rendering the background grid and the
points of the object. Since EPS files are reso-
lution independent, they can be placed into
most paint and illustration programs at any
size the user desires without sacrificing
image clarity. That's just the type of flexibility
you want when working on high-resolution
image maps for television and film.
Note
It is
vitally important
that you not move,
rotate, or scale the pieces of your object's
actual geometry while it is
unwelded
and
you are adjusting sections of map polys. If
you do, your model will
not
go back
together again when you merge points.
(Sifting through a character's many points to
find the ones that are micrometers off is a
torture I'd not wish on anyone.)
One way to “CYA” in this respect is to cre-
ate a “junk” endomorph (see the LightWave
manual) to have active as you work your
mapping placements. Having an endomorph
active won't affect the placement of the tex-
ture polys within a UV Texture viewport, but
any accidental nudging or bumping to your
actual geometry polys in the regular
viewports can be easily gotten rid of using
Map | General | Clear Map. Clearing the
map must be done
while
you have the
“junk” endomorph “map” active! It should
be done
before
merging points; otherwise,
points that are no longer in the same posi-
tion on the endomorph will not be merged,
even if they are in exactly the same position
on the object's “base” state.
Be aware: If you have your UV texture
map active instead of the “junk” endo-
morph, Clear Map will
erase
what you have
selected from your UV map!
Obviously, it is important to have a good,
clear working knowledge of using maps
(weight, texture, morph, color, and selection)
before using a technique like this if you
don't plan on saving a revision of your work.
But I want you to be aware of this technique
— it's what the pros do.
...
You've added some cool, powerful tools to
your “bag-o'-tricks.” They're things the
pros use every day to get their jobs done
well
and done
fast
! Now they're a part of
what
you
can do as well! With practice,
they'll become so second nature, you won't
ever want to work without them.
Yet, we're
still
just scratching the surface
of what you can do in Modeler. So, when
you're done exploring the things you've just
learned, clear your desktop! In the next
chapter, we're going to put some of what
you've learned to work.
