This tutorial looks at some of the 3ds Max features related to materials, texturing, and rendering. The first lesson, in three parts, covers functionality in the Unwrap UVW modifier. Following this are lessons on Render To Texture, the Ink 'n Paint material, and the Translucent shader.

Skill level: Intermediate

Time to complete each lesson: 30–60 minutes

Features Covered in This Tutorial

In these lessons you will learn:

Using the Unwrap UVW modifier.
Using Render To Texture to “bake” lighting, shadows, and other scene features into a bitmap texture for use in games and other real-time applications.
Using Ink 'n Paint to render comic-style images.
Using the Translucent shader to simulate translucent materials

Tutorial Files

All the files necessary for this tutorial are provided on the program disc in the \tutorials\materials_and_rendering directory. Before starting the tutorials, copy the \tutorials folder from the disc to your local program installation.

Tutorials

These lessons will give you hands-on experience with the materials and rendering features.

Using Unwrap UVW, Part 1
Using Unwrap UVW, Part 2
Using the Relax Tool on Texture Coordinates
Using the Channel Info Utility

Using Unwrap UVW, Part 1

In this three-part lesson, you'll get an introduction to the Unwrap UVW modifier, and use several of its features.

Examine the final mapping:

You'll start by looking at the final version of a fairly detailed object mapped with the Unwrap UVW modifier.

Open the file tut_unwrap_start.max.
Go to the Modify panel and select the Fuselage object; just click a wing.

You can now see the object's modifier stack, with the Unwrap UVW modifier applied to the Editable Poly object.
In the modifier stack display, click Face to access this sub-object level. Also, on the Selection Parameters rollout, make sure Select By Element is on.

This will let you select large sections of the Fuselage object, rather than single faces.
On the Parameters rollout, click Edit.

This opens the Edit UVWs dialog, also known as the UVW editor.
From the drop-down menu at the top right of the window, choose Map #10 (biplane_texture.jpg).

You can now see the UVW clusters laid out against the texture map in the background. Each cluster represents a section of the Fuselage geometry that is planar-mapped with the underlying area of the bitmap texture.
In the Perspective viewport, click the upper wing.

The entire wing is selected, and in the editor window, the UVW clusters assigned to it become highlighted.
Still in the viewport, click different parts of the Fuselage to see which UVW clusters correspond to them.

Highlighting a cluster makes it easier to see how well its outline matches the shape of the underlying section of the texture map. To change the wireframe color used by the clusters, you can also use the Options button near the bottom-right corner of the Edit UVWs dialog. Also, it often helps to lower the bitmap brightness as well.

Most of the Fuselage parts are combined into a single element, which uses the clusters on the left side of the editor window.
In the viewport, select the nose cone (it's right behind the propeller), and note the cluster that highlights in the editor.

The nose cone is mapped as a single piece, which is convenient to texture with a single area of the bitmap. It's not really flat, but the planar mapping works with it because of the UVW editor's ability to closely match the geometry with the bitmap on a per-vertex basis.
Next, click one of the landing gear housings, and note how it's mapped with four different clusters.
Click an empty area of the editor window to deselect the UVW clusters.
In the editor, turn on Selection Modes group > Select Element, if necessary, and click each of the previously highlighted clusters in turn to see which part of the housing it maps. You might need to rotate the viewport to see the highlighted polygons. If you still can't see the selection, press F2 and/or F4 to enable Shade Selected and Edged Faces, respectively. Also, the outermost cluster corresponds to the inside of the wheel housing, so it might be a bit difficult to spot at first.

Because the housing structure is more complex than that of the nose cone, it makes sense to map it with four clusters instead of one.

Ultimately, it's up to you how you map your geometry; the UVW editor gives you the power and flexibility to use the method that works best for you.

Using Unwrap UVW, Part 2

In this section, you'll examine Unwrap UVW's Flatten Mapping command for automatic mapping.

Use Flatten Mapping:

Click an empty area of the editor window to deselect any selected UVW clusters.
In the Edit UVWs dialog, open the Mapping menu and choose Flatten Mapping.

The Flatten Mapping dialog opens.
Click OK to accept the default settings and remap the Fuselage using this automatic mapping function.

The software applies planar mapping to each section of the mesh based on the Flatten Mapping dialog settings. The editor now displays a very different set of UVW clusters. Each cluster consists of a set of contiguous faces in which the angle between neighboring faces is less than or equal to the Face Angle Threshold setting in the Flatten Mapping dialog.

The main difference is that there are many more clusters, and most of them are smaller than in the final. The wings are relatively flat, so their clusters are easy to identify, but most of the rest are not. You can remedy this somewhat by increasing the angle threshold.

Of course, the underlying texture map remains the same when you change the mapping. If you look at the Perspective viewport, you can see that the mapping is now much different than before.
Again choose Mapping menu > Flatten mapping, and for Face Angle Threshold, type 61 (this is the angle used by the artist as a first step in creating the final mapping). Click OK to perform the remapping.

The result is fewer clusters than before, but still many more than in the final. In the next procedure, you'll look at a couple of ways of combining these clusters.

Combine the UVW clusters:

You can use the editor's Stitch function to combine clusters one at a time, and the modifier's Planar Map command lets you combine several clusters simultaneously.

In the viewport, select the nose-cone element.

This causes all of the UVW clusters used by the nose-cone geometry to highlight in the editor.
On the editor's lower toolbar, click the Filter Selected Faces button to turn it on.

Now only the highlighted clusters appear.
Click outside the bounding box to deselect everything, and then click a vertex on one of the smaller clusters to select the cluster.

Highlighted edges and vertices appear on one or more other clusters to show the sub-objects shared with the selected cluster.
In the Tools menu, choose Stitch Selected.

The Stitch Tool dialog appears, and one of the other clusters moves next to the selected clusters, with the shared sub-objects “stitched” together. The software automatically stitches the cluster with the most shared sub-objects; if two or more share the same number of sub-objects, it picks the one with the lowest vertex ID numbers. In this case, it picked the rightmost cluster near the top of the editor window.
In the dialog, click the Align Clusters check box to turn it off, note what happens, and then click it again to turn it back on.

When you turn off Align Clusters, the attached cluster moves back to its original position. Use this when the automatic alignment positions the attached cluster in an undesirable way, such as overlapping the first cluster.
Click OK to close the dialog.

Next, you'll use Planar Map to combine all of the nose cone clusters at once.
In the viewport, select the nose cone element.
On the Modify panel > Map Parameters rollout, click Planar.

The Planar button turns yellow and the clusters combine into a single cluster that's roughly the shape of the nose-cone texture in the upper-right section of the bitmap. But the cluster is oriented differently than the texture, and is much bigger.
On the Map Parameters rollout, click Align X. This will reorient the mapping gizmo so that it is perpendicular to the nose cone element.
Near the bottom-right corner of the Edit UVWs dialog, click the Rot. -90 button to match the orientation.
In the Modify panel > Map Parameters rollout, click Planar again to exit Planar Mapping mode.
Use the Freeform Mode transform tools to fit the cluster to the nose-cone texture. Drag the corners of the bounding box to scale the cluster, and drag within the bounding box to move it. Check your work in the viewport, and render if you like.

To get an exact match, you'd have to move the vertices as well.

Tip: You can use the Edit UVWs dialog to make a template for creating your own texture maps. Once you've got the clusters set up the way you want them, go to the Tools menu and choose Render UVW Template, and then use the Render UV Template button to generate a flattened 2D image of the mapping coordinates. You can then save and open the bitmap image into your Paint application (such as Adobe Photoshop). Use the cluster outlines as a guide for painting the texture map.

Summary

The Unwrap UVW modifier is a powerful tool for applying complex mapping to your objects. This tutorial covered a variety of methods for using the modifier, including how to coordinate selection of UVW coordinates and parts of the object, usage of the automatic mapping tools such as Flatten Mapping, combining mapping clusters, and sketching vertices.

Using the Relax Tool on Texture Coordinates

An important tool in the Unwrap UVW modifier editor is Relax, which algorithmically spreads out texture coordinates to give more even coverage of the underlying texture. This makes it easier to assign specific texture coordinates to the desired areas of the texture. This tutorial gives you a brief look at how to use Relax in a specific texturing application.

Skill Level: Intermediate

Time to complete: 20 minutes

Features Covered in This Tutorial

In this tutorial you learn:

Applying a Unwrap UVW modifier.
Using the Relax tool to affect texture coordinates.

Tutorial Files

Procedures

Set up the tutorial:

From the tutorials\materials_and_rendering directory, load the scene file clown_head.max.

The scene contains a model of a head, with a UVW Map modifier set to Planar applied to the face. Also applied to the face is a material with a Checker map. The map helps show where the texture vertices might need to be adjusted.

Apply the Unwrap UVW modifier:

Select the head object and go to the Modify panel.
Apply an Unwrap UVW modifier.

The Unwrap UVW modifier appears at the top of the stack, but doesn't provide a sub-object mode because you're applying it to an existing sub-object selection.

Edit the UVW mapping:

On the Parameters rollout, click the Edit button.

The Edit UVWs dialog opens.

Only the selected parts of the mesh appear, and all texture vertices are selected.

Note that the texture vertices are most dense around the detailed parts of the face: the eyes, nose, and mouth. This is where you can use Relax to spread out the vertices for easier manual editing.
Drag a selection region around the eyes.
From the Edit UVWs dialog menu bar, choose Tools > Relax dialog.

The Relax Tool dialog appears.

The Relax Tool dialog is modeless. It offers different algorithms to relax the mapping. The default mode, Relax By Edge Angles is often recommended as it minimizes the overlapping of edges.
Click the Apply button twice.

The selected vertices move apart slightly.
Similarly, use Relax on the vertices around the nose and mouth.

Summary

The Relax tool in Unwrap UVW can save you time and effort by automatically spreading out mapping vertices. In some cases, you'll need to follow up by moving vertices to the desired final locations.

Using the Channel Info Utility

This tutorial shows a number of different methods for using the Channel Info utility. This is an intermediate-level tutorial; you should be familiar with standard 3ds Max procedures such as creating and applying materials.

Skill level: Intermediate

Time to complete: 90 minutes

Reduce a mesh object's memory footprint:

When working as a 3D artist on a game-development project, you might receive models to work on that have already been mapped, but it's difficult to tell what the mapping is. In addition, the mapping might have been applied inefficiently, so that it takes up more memory than necessary in the model's data structure. This lesson shows you how to use Channel Info to adjust a model's mapping, thus recovering the unused memory, which can then be used by other game assets.

Open the ostrich.max scene file.
Apply a UVW Map modifier to the ostrich model. Set Map Channel to 4.
Collapse the ostrich object's stack; this results in an Editable Mesh object.

This simulates a situation you might encounter as a 3D artist working for a commercial game developer: You receive a mesh object to work on that already has mapping applied, but you don't have direct access to the tool (modifier) originally used for applying mapping, and you need to minimize the object's memory footprint for embedding into the game.
Create a standard material with a Checker map applied as a Diffuse map. For the Checker map, set U and V Tiling both to 4.0, and set Map Channel to 4.
Turn on Show Map In Viewport, and apply the map to the ostrich model.

The map appears on the model, mapped in a planar manner parallel to the world grid.
Go to the Utilities panel, click the More button, and then double-click Channel Info to open the utility. On the Utility panel, click the Channel Info button.

The Map Channel Info dialog opens:

The dialog lists all pertinent channel information for the object. This is described in detail in the Interface section.

The last channel, whose ID is “4:map,” represents the mapping you applied with the UVW Map modifier. It's preceded by three empty map channels, each of which contributes about 33 kilobytes to the object's memory footprint. These were created because the software requires consecutive numbering of map channels, but the memory isn't being used for anything.

You'll use the Channel Info tools to remove the empty channels, thus freeing up the unused memory. But first you'll copy the mapping to the first available mapping channel, because you can delete channels only starting with the last one.
Right-click the last channel, and from the right-click menu, choose Copy.

This places the texture mapping created by the UVW Map modifier into the copy buffer. The status line on the dialog, beneath the row of buttons, reads “Copy Buffer Info: Node: ostrich Map Channel 4”.
Right-click the channel whose ID is “1:map” (the first available texture map channel), and, from the right-click menu, choose Paste.

The Channel Name dialog appears, giving you the opportunity to name the pasted channel.
Type Planar Mapping and press Enter or click OK.

Map channel 1 now also contains the planar mapping originally applied to channel 4. You can now delete the remaining map channels, but first you'll demonstrate that the planar mapping is indeed applied to channel 1.

Note: With an object that has default mapping, such as a geometric primitive, you might have pasted to channel 2 instead. This would preserve the original, default mapping as well as the planar mapping in two different channels.
Open the Material Editor, if necessary, and go to the material's diffuse map level. Use the Map Channel spinner to decrement the value to 1 by clicking the down arrow three times.

At map channels 3 and 2, no map appears on the ostrich model, because those channels don't contain any mapping values. But at map channel 1, the checker texture reappears on the object.
Right-click the 3:map channel, and from the right-click menu, choose Clear.

The channel remains, and still uses 33 kilobytes of memory. This demonstrates that you can't delete intermediate channels.
Right-click the 4:map channel, and from the right-click menu, choose Clear.

The channel disappears.
Clear the 3:map channel, and then the 2:map channel.

Only map channel 1 remains. You've deleted the others, thus reducing the object's total memory footprint by approximately 99 kilobytes (the memory consumed by the three unused map channels).
On the Modify panel, look at the object's modifier stack. It contains a UVW Mapping Paste and four UVW Mapping Clear modifiers; the Channel Info utility uses these modifiers to help do its work. To get rid of these, simply collapse the stack.

Enable vertex sub-object selections to survive topology changes and object type changes:

Because Channel Info provides access to the channel that stores the current vertex selection, and lets you copy that information to other channels, you can store the vertex selection. Once you've done so, the vertex selection will survive topology changes, such as adding mesh resolution and even changing the object type.

It's important to remember, however, that the vertex-selection channel has only one component, while map channels have three. Thus, you need to copy the vertex-selection channel to a subcomponent of a map channel.

This lesson also demonstrates usage of the Select By Channel modifier in conjunction with Channel Info.

Open the octopus.max scene file.

This octopus is at an early stage of modeling. You'll use it to learn how to retain sub-object selections after subdividing the mesh.
Select the octopus object, open the Channel Info utility, click one of the tracks, and then click Add to create a new map channel.

You can use the extra map channel to store the vertex-selection data, thus retaining any information already in the original map channel.
On the Modify panel, go to the Vertex sub-object level of the Editable Poly base object.
From the Region Selection flyout on the toolbar, choose Lasso Selection Region and, in the Left viewport, select all the vertices in the octopus head. Drag out an approximate region selection; you needn't be particularly careful about not selecting non-head vertices for this exercise.

Next, you'll determine whether this selection can survive a topology change on its own. You can use a special feature of Editable Poly to automatically convert the vertex selection to a polygon selection.
On the Selection rollout, Ctrl+click the Polygon button to go to that sub-object level while simultaneously selecting the polygons used by the existing vertex selection.
On the Edit Geometry rollout, click the Tessellate button, and then return to the Vertex sub-object level.

The vertices you selected before are interspersed with the new, unselected vertices that were created by tessellating the mesh. The vertex selection did not survive the topology change. That is, not all of the head vertices are still selected.
Press Ctrl+Z to undo the tessellation.

The software restores the original vertex selection.
In the Map Channel Info dialog, right-click the vsel channel and choose Copy.

“vsel” is short for vertex selection. This channel stores the current selection set of vertices.
Right-click the 2:map channel you created in step 2.

The Paste command is unavailable, because map channels each have three components, but the vertex-selection channel has only one. You can't copy and paste between a one-component channel and a three-component channel. Fortunately, Channel Info gives you optional access to individual components of three-component channels.
At the top of the Map Channel Info dialog, click the SubComp (subcomponents) button.

All three-component channels expand into their subcomponents. vsel is the only one-component channel.
Right-click the 2:map:X channel and choose Paste. When the Channel Name dialog opens, type Head Vertices and press Enter.

The software adds a UVW Mapping Paste modifier to the object's stack.
Return to the Editable Poly > Vertex sub-object level, and select all of the octopus's leg vertices.
Copy the vsel channel to the 2:map:Y channel, and name it Leg Vertices.
In the modifier stack, right-click one of the UVW Mapping Paste modifiers and choose Collapse All.

All of the additional modifiers are deleted, and the pasted data is “baked” into the object mesh.
Apply a Tessellate modifier to the model.

The mesh resolution increases significantly.
Apply a Select By Channel modifier to the octopus model.

This modifier lets you select channels that you named in Channel Info.
In the Select By Channel modifier, open the Selection Channel drop-down list.

The entries are the same as the vertex selections you copied and pasted to the map channel subcomponents.
Choose each of the items from the drop-down list in turn.

The corresponding stored vertex selection appears on the object, including all new vertices created by the tessellation. Note that the software automatically creates a soft selection for any vertices that the tessellation created between the original selected and unselected vertices; that is, on the border of the selection.

You could get the same results by copying the stored channels back to the vsel channel in the Map Channel Info dialog, but Select By Channel makes it easier to access the various stored selections. You can pass the selection in the active selection channel up the stack to further modifiers.

Normally, if you change an object's geometry type, it's possible to lose a sub-object selection. But with Channel Info, stored selections remain intact, as you'll see in the final part of this lesson.
Right-click the octopus and convert it to an Editable Patch object. Reapply the Select By Channel modifier and access the different stored channels.

The channels are empty, because Channel Info doesn't support stored vertex selections in patch objects. But, as you'll see in a moment, the stored mesh-vertex selections are still available.
Convert the octopus to an Editable Mesh object. Apply another Select By Channel modifier and access the different stored channels.

The vertex selections remain intact. If you performed the same series of conversions, starting with an editable mesh with a vertex selection, the selection would be permanently lost after the first conversion.

Tip: If you're doing this sort of work and find that you can't paste a copied channel that you think you should be able to, try clicking the Update button on the Map Channel Info dialog. This step is necessary, for example, after object type conversions and topology changes.

The next procedure follows on from this one. If you'd like to try it later, save this file first.

Apply texture blending with the Vertex Color map:

In 3ds Max, the Vertex Color map works in conjunction with Channel Info to provide access to the different named channels. This lesson shows how to use the capabilities of the Vertex Color map along with stored vertex selections to blend textures on an object's surface.

This lesson follows on from the one above. If you haven't done the previous procedure, please complete it before attempting this one.

You'll create a composite material and use opacity to specify which sub-material should appear where.

Continue from the previous procedure, or open the file you saved at the end, or open the included file octopus01.max.
Open the Material Editor and apply the first material (1-Default) to the octopus.
In the Material Editor, click the Standard button, and in the Material/Map browser, double-click Composite. When the Replace Material dialog appears, click OK to continue.
At the top of the Composite Basic Parameters rollout, click the Base Material button.
Click the Diffuse color swatch and set it to a bright green color.
Click the Go To Parent button, and then click the Mat. 1 button. Choose a Standard material for material 1.

The Composite material uses opacity to determine how the different materials overlay the base mesh, so that's where you apply a Vertex Color map. You'll use Vertex Color because it provides access to the named, stored channels.
On the Blinn Basic Parameters rollout, click the Opacity map button to the right of the spinner, and choose the Vertex Color map.
On the Vertex Parameters rollout, find the Channel Name field and click the arrow button to its right.

The drop-down list shows the vertex-selection channels you pasted and named.
Choose the Head Vertices channel.
Click the Go To Parent button, and set the Diffuse color to a bright red.
Apply a UVW Map modifier to the object.

This is just so the renderer doesn't complain about missing map coordinates when you render.
Render the Perspective viewport.

A slight amount of blending between the colored areas is the result of the soft-selected vertices created by the tessellation.
Click the Go To Parent button, and set Mat. 2 to a blue, Standard material, with Opacity mapped with a Vertex Color map set to the Leg Vertices channel.
Render again.

You now have an RGB octopus.

You can find the completed scene file in octopus_final.max.
Also try setting the different sub-materials to different maps such as Checker and Cellular.

This is a very powerful method of using any mapping channel to combine different materials on an object's surface.

Enable a morph object to survive a topology change:

Sometimes, after you set up a morphing animation with the Morpher modifier, you need to change the object geometry. For example, the client or technical director might request that you add a facial feature such as wart, which requires you to increase mesh resolution.

Normally, if you change the topology of the base morph object, the morphing animation is completely lost because the base object's topology then differs from that of the targets. To recover, you must re-create the morph targets using the new topology, which can be a lot of work.

Instead, you can reuse the original morphing animation via the Channel Info's Copy and Paste functions, thus saving a great deal of time and effort.

Create a base object, convert it to Editable Mesh or Editable Poly, make several copies, and modify the copies to create morph targets. Use the Morpher modifier to set up a morphing animation on the base object.

You can use your own scene, or load the included scene file octopus_morph.max. The remainder of the lesson assumes you're using this scene, which contains a low-polygon octopus moving its head and legs using three morph targets.
Play the animation.

The leftmost object, the one animated with the Morpher modifier, moves its head and legs. This is also referred to as the base object. The remaining objects are morph targets; the base object uses these poses for the different phases of its animation. All four objects have the same geometry; this is a requirement for morphing animation.

Before starting, you'll demonstrate how changing the object geometry loses the morphing animation.
Select the base object, octopus base, and, on the Modify panel > modifier stack, click Editable Poly twice to go to the Vertex sub-object level.
On the Edit Vertices rollout, click the Extrude button, and then, in the Perspective viewport, drag one of the neck vertices upward to extrude it outward.
In the modifier stack, click Editable Poly again to exit the Vertex sub-object level.
Play the animation again.

The animation is lost. This happened because the base object's geometric structure, or topology, is now different from that of the morph targets.
Press Ctrl+Z several times until the octopus is no longer selected, and then play the animation.

The morphing animation is restored.

To begin, you'll use Channel Info to copy each of the morph targets' mesh channels to different channels in the base object.
Select the base object, octopus base, and then open the Channel Info utility.
On the Map Channel Info dialog, click any channel, and then click the Add button three times to add three new map channels.

You can store the mesh data in existing channels such as Alpha, Illum, and vc, or add new channels to hold it. In this lesson, you'll do the latter.
Select the first morph target, octopus head forward. On the Map Channel Info dialog, right-click the first channel, poly, and choose Copy from the menu.

The poly channel contains the object's mesh data.
Select octopus base again and use the Map Channel Info dialog to paste to the 2:map channel, which is the first new channel you created earlier with the Add button. Name the channel octopus head forward.
Similarly, copy the poly channels from the octopus legs 1 and octopus legs 2 objects (the second and third morph targets) to the octopus base object's 3:map and 4:map channels, respectively, naming the channels octopus legs 1 and octopus legs 2, respectively.

Tip: If you select multiple objects, they all appear in the Map Channel Info dialog, so you can copy and paste channels without having to change your selection.
Select the base object and, in its modifier stack, move the Morpher modifier above any UVW Mapping Paste/Add modifiers (drag it to the top of the stack).
Right-click the uppermost UVW Mapping Paste modifier and from the context menu choose Collapse To.

The added/pasted channels are combined into the base object; only it and the Morpher modifier remain.
At the Editable Mesh/Poly level, refine the mesh. For example, you might use Slice, Cut, or Tessellate to add resolution. Try this: Select a few polygons on the front of the neck, click the QuickSlice button, click once on either side of the polygon selection, and exit the Polygon sub-object level.
Play the animation.

Because of its modified topology, the base object no longer morphs into the target shapes.
Delete all the morph targets (not the base object).
Make three copies of the edited base object.

Each of these copies has the same topology as the modified base object, and contains all of the original morph targets' shapes in its mapping channels.
Select the first copy, open the Map Channel Info dialog if necessary, and copy the octopus head forward channel to the poly channel. It's not necessary to rename the poly channel when you paste.

The first morph target regains its head-forward pose.
Similarly, copy the octopus legs 1 and octopus legs 2 channels on the second and third copies, respectively, to the poly channels .
Optional: Recover extra memory used by the morph targets by deleting the mesh data stored in their mapping channels with the Clear function.

Lastly, you'll set the Morpher modifier to use the new targets.
Select the base object, go to the Modify panel, and click the Morpher modifier in the stack, if necessary.
On the Channel List rollout, right-click the first target name button (octopus head forward), choose Pick From Scene, and click the first morph target object in the viewport (octopus base01).

The new target name replaces the old one on the button.
Similarly, use the Channel List buttons to set octopus base02 and octopus base03 as the second and third morph targets.
Play the animation.

The morphing animation is restored intact with the modified topology.

You can find the end result of this lesson in the file octopus_morph_final.max.

Summary

With its ability to store different kinds of information in mapping channels for later retrieval, the Channel Info utility can play a role in helping you master a variety of tasks in 3ds Max. You can use it to:

Eliminate unused mapping channels in an object, thus minimizing memory usage.
Enable vertex sub-object selections to survive topology changes and object type changes.
Blend texture edges on an object's surface, in conjunction with the Vertex Color map.
Name map channels and sub-channels for access by the Select By Channel modifier.
Restore morphing animation to an object after changing its topology.

Pages

Managing Texture Coordinates

Features Covered in This Tutorial

Tutorial Files

Tutorials

Using Unwrap UVW, Part 1

Next

Using Unwrap UVW, Part 2

Summary

Next

Using the Relax Tool on Texture Coordinates

Features Covered in This Tutorial

Tutorial Files

Procedures

Summary

Next

Using the Channel Info Utility

Summary

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