The next step was UV mapping using the low poly models. I mapped out where the seams would be on the 3D object, this would then unwrap the models topology as a flat 2D surface, in the same way as breaking down a cube into six flat squares. This process allows you to paint on a texture that would be spaced out with no stretch textures on the model. Next I exported the low poly objects and high poly objects as obj’s, to texture bake them in xNormal. This would extract the detail of the high poly model as normal and displacement maps onto the low poly model. This means I could have all the detail of the high poly model, but keep the low amount of polygons from the low poly model.
UV mapping videos, I used to help with this stage;
Using the UV maps I exported as J peg’s, I tried to texture the models in Adobe Photoshop but to no good effect. The Photoshop textures looked flat and didn’t match the rest off the texture in the films. I download a trial version of Substance Painter a professional software for texture painter, this was the software everyone in the group was using. I wanted to use this software so the textures on my character look good and matches the textures of the film. But there was a problem, all my computers and Macs couldn’t run Substance Painter well. They were not powerful enough machines to run it smoothly and kept crashing.
So for the texturing I handed that stage to someone else in the group who has a more powerful PC to run Substance Painter. I sent over the low and high poly models as obj’s with the finished UV maps ready for texturing.
This is the finished character model with all the textures I received back by the other member in the group.