You'll probably now have overlapping UVs, so move them all out of the UV space and bring each island back in. Attach all the shell elements that will have the painted material and apply a new Unwrap UVW modifier. This also makes it easier for us to texture on one map later on. Spline unwrapping to unfold the circular tireīecause the shell of the car will be using a paint material, it's best practice to join all these meshes together so they share the same material. Once you commit the tool, you can then scale and rotate the UV island to fit correctly in the UV space. Select the Spline Wrap tool and pick the new spline, use planar mapping, then select and scale the cross-section in the viewport until they just about encompass the wheel. Then click 'Create Shape' to add a spline that perfectly matches the edge selection. To create the correct shape, use the Edit Poly modifier and select an edge of the wall and loop select to form a circle of selected edges.
Instead, we can use the Wrap tools, specifically the Spline Wrap tool. The wall of the tire is more tricky if you want to apply detail textures to the wall of the tires (such as writing or logos) then we ideally need the wall to be completely flattened out, but the usual projection mapping techniques won't work for us. I map the tread of the tire using simple cylindrical mapping and scale it to match the rest of the car. Tires can be quite tricky to UV map because of the curvature of the wheel. Unwrapping each element to keep the whole process simple I organize the UV islands to maximize the space used for the most important parts of the asset in this case, the bonnet top would need more space than the underside, so we can have more texture resolution on the visible geometry. I use planar mapping for the top and bottom geometry, and apply the Relax tool to smooth out any folds in the UVs that would cause kinks in the texture.
In 3ds Max, apply an Unwrap UVW modifier to the asset before the TurboSmooth modifier so we're only dealing with the simplified mesh. It allows us to use physically correct surfaces that, combined with HDR lighting, give us a photorealistic professional end result. It's mainly used in the games industry to display assets for portfolios, but I wanted to show that it can be used with a high-poly model and provide some fantastic-looking images in real-time. If you're not familiar with Marmoset Toolbag 2, it's a real-time physically based rendering (PBR) solution that is a standalone program. In this tutorial I will guide you through the process of texturing the vehicle asset we modeled in the previous issue, and exporting it to Marmoset Toolbag 2 to set up a scene for our final renders.
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