Creating Photorealistic 3D Models With Photoshop and 3ds max

Bachelor in Construction

Joffrey Fontenelle Thomas Grauwen

Academicyear 2013-2014 Campus Geel, Kleinhoefstraat 4, BE-2440 Geel

PREFACE Erasmus! 3D modelling! A virtual reality lab, with a 5 sided 3D room! Finland! We did not need to know more to be sure we both wanted to go to Seinäjoki in Finland. The Erasmus experience of going abroad is a once in a lifetime opportunity. Both of us felt there was more in the world than a little country called Belgium. So this was a chance we had to take with both hands. Erasmus is more than a new educational experience of a school abroad and becoming an expert in the subject of the thesis. It is also experiencing a different culture in a different country with different people. It is finding yourself, growing as an individual and coming back home as a changed human being. For this opportunity we are so grateful for Sofie Mols, the international coordinator of Thomas More Kempen, and Tapio Pihlajaniemi, the international coordinator of the Seinäjoki University of Applied Sciences, for making this possible for us. Also gratitude for Danny Busschots for being our mentor. He kept us sharp for working on the thesis but also not to forget enjoying our time in Finland. 3D is the future. A simple but true fact. 3D is everywhere: 3D movies are coming out, 3D games are being made, there are 3D designs of the machines can be tested virtually and of course 3D building models. Architects are showing off their new designs in 3D, engineers can understand a building much easier while studying them in 3D. But this was something we never experienced in real life before. Till we entered the CAVE-lab of the Seinäjoki University. Tapio Hellman explaining all the capabilities of the lab with passion. A passion that immediately hit both of us and it dragged us with it. We want to thank Tapio Hellman so much for allowing us to work in the CAVE-lab and ask for all the manuals and knowledge he possessed. But Tapio was not the only one we could bother with questions. Risto Norja was there as well to offer his help in times we needed it. We thank you. Maybe it is not directly linked to the thesis. But we like to thank the people and friends we got to know here in Seinäjoki. They gave us a warm feeling of a home and an amazing time so far away from our home. Without them our motivation would never have been so great. Kiitos!

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SUMMARY The 3D software is an evolving subject. Every year the software is updated. This means the manuals get outdated. In this paper we make an up to date version on how to create photorealistic 3D models with Photoshop CS6 and Autodesk 3ds Max 2014. It is meant for beginners in both the Photoshop as the Autodesk 3ds Max software. Starting as beginners in both software programmes a step by step guide is given. This guide consists of knowledge we gained from other manuals and tutorials but most of all by trial-and-error experiences. Eventually a guide is created from our point of approach. This means our problems are explained and solved. There is always the possibility the guide lacks other problems we did not encounter.

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TABLE OF CONTENTS PREFACE ............................................................................................................ 2 SUMMARY........................................................................................................... 3 TABLE OF CONTENTS .......................................................................................... 4 LIST OF ILLUSTRATIONS .................................................................................... 6 LIST OF ABBREVIATIONS AND SYMBOLS ..........................................................10 INTRODUCTION.................................................................................................11 1

GENERAL INFORMATION .....................................................................12

1.1 1.2 1.3

Seinäjoki University of Applied Sciences ............................................ 12 The CAVE............................................................................................ 12 UVW unwrapping from scratch........................................................... 13

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FRAMI F ..............................................................................................15

2.1 2.2 2.3 2.3.1 2.3.2 2.4 2.5 2.5.1 2.5.2 2.5.3 2.5.4 2.5.5 2.6

General Information .......................................................................... 15 Photoshop for beginners .................................................................... 15 Intermediate Photoshop ................................................................... 16 East ..................................................................................................... 16 West .................................................................................................... 18 Modeling in Autodesk 3ds Max ........................................................... 19 Advanced photoshopping ................................................................... 20 South ................................................................................................... 20 Entrance cove........................................................................................ 22 Roof ..................................................................................................... 23 Seventh Heaven .................................................................................... 24 Cutting pictures ..................................................................................... 25 UVW Unwrapping ............................................................................... 25

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MODELING FRAMI P STEP BY STEP .....................................................28

3.1 3.2 3.3 3.3.1

General information ........................................................................... 28 Pictures.............................................................................................. 29 Editing the pictures in Photoshop part I............................................. 31 Correcting the lens and perspective distortion............................................ 31

3.3.1.1 3.3.1.2 3.3.1.3 3.3.1.4

South façade ..................................................................................................................... 32 East façade ....................................................................................................................... 34 West façade ...................................................................................................................... 34 North façade ..................................................................................................................... 36

3.3.2.1 3.3.2.2 3.3.2.3 3.3.2.4

South façade ..................................................................................................................... 37 East façade ....................................................................................................................... 37 West façade ...................................................................................................................... 38 North façade ..................................................................................................................... 38

3.3.3.1 3.3.3.2 3.3.3.3

South façade ..................................................................................................................... 39 East façade ....................................................................................................................... 40 West façade ...................................................................................................................... 40

3.3.5.1 3.3.5.2 3.3.5.3

South façade ..................................................................................................................... 42 East façade ....................................................................................................................... 42 West façade ...................................................................................................................... 42

3.3.2

3.3.3

3.3.4 3.3.5

3.3.6 3.3.7 3.4 3.5 3.5.1

Elimination of irrelevant objects ............................................................... 37

Pasting the pictures together ................................................................... 39

Erasing of the lights ............................................................................... 41 Contrast ............................................................................................... 41

Cutting out the images ........................................................................... 42 Conclusion ............................................................................................ 42 Creating the model with 3ds max....................................................... 43 Editing the pictures in Photoshop part II ........................................... 47 West façade .......................................................................................... 47

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3.5.2 3.5.3 3.5.4 3.5.5 3.6 3.6.1 3.6.2 3.6.3 3.7

Circular part .......................................................................................... 47 Roof and floor........................................................................................ 49 North façade ......................................................................................... 52 Collage ................................................................................................. 53 UVW-unwrapping in 3ds max ............................................................. 53 Frami P sign .......................................................................................... 53 UVW-unwrapping ................................................................................... 54 Opacity of the blue structure ................................................................... 55 Finish ................................................................................................. 57

CONCLUSION…..................................................................................................58 LITERATURE LIST ..............................................................................................59 APPENDICES .....................................................................................................60 MANUAL ...........................................................................................................67

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LIST OF ILLUSTRATIONS Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure

1-1 SeAMK aerial image ................................................................. 12 1-2 The Cave ................................................................................ 12 1-3 3D Seinäjoki ........................................................................... 13 2-1Frami F north before and after.................................................... 16 2-2 Frami F East............................................................................ 16 2-3 Pictures without obstacles ......................................................... 17 2-4 Pasted images ......................................................................... 17 2-5 Repaired contrast .................................................................... 17 2-6 All usable pictures next to each other ......................................... 18 2-7 Fixed façade............................................................................ 18 2-8 Attached building ..................................................................... 19 2-9 Architectural model .................................................................. 19 2-10 Simplified model .................................................................... 20 2-11 South façade ......................................................................... 20 2-12 South façade ground floor ....................................................... 21 2-13 Used pictures ........................................................................ 21 2-14 Combined pictures ................................................................. 22 2-15 Entrance cove picture and model ............................................. 22 2-16 Entrance façade ..................................................................... 23 2-17 Roof picture source and modified ............................................. 23 2-18 Roof pictures ......................................................................... 24 2-19 Seventh heaven façade ........................................................... 24 2-20 Seventh heaven ..................................................................... 25 2-21 Cutted façade 1 ..................................................................... 25 2-22 Cutted façade 2 ..................................................................... 25 2-23 Export object ......................................................................... 26 2-24 Export settings ...................................................................... 26 2-25 Resetting the file and importing object...................................... 27 2-26 Model with texture map .......................................................... 27 3-1 Frami P architectural model....................................................... 28 3-2 North façade left side ............................................................... 29 3-3 North façade right side ............................................................. 30 3-4 West façade trees .................................................................... 30 3-5 Frami P south .......................................................................... 32 3-6 South façade picture 1 ............................................................. 32 3-7 Error in the roof....................................................................... 33 3-8 Correcting the error ................................................................. 33 3-9 Picture after corrections ............................................................ 34 3-10 Frami P east .......................................................................... 34 3-11 Frami P west ......................................................................... 34 3-12 Pictures taken from an oblique angle ........................................ 35 3-13 Shadow on the left picture, over-exposure on the right ............... 35 3-14 Frami P north ........................................................................ 36 3-15 Picture taken from an oblique angle ......................................... 36 3-16 Pictures after editing with PCT ................................................. 37 3-17 Lanterns and small pole .......................................................... 38 3-18 Grass and car ........................................................................ 38 3-19 Smoking shed and ladder ........................................................ 39 3-20 Complete south façade ........................................................... 39 3-21 Complete east façade ............................................................. 40 3-22 Transition errors .................................................................... 40 3-23 Steel beam correction ............................................................. 41 3-24 Frami P east before erasing the lights ....................................... 41 3-25 Frami P east ready ................................................................. 42 3-26 Frami P west ready ................................................................ 42

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Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure

3-27 Frami P simple model ............................................................. 43 3-28 Copying the roof .................................................................... 44 3-29 Lean-to west façade ............................................................... 44 3-30 Attach function ...................................................................... 44 3-31 Deleting the excess polygons ................................................... 45 3-32 Frami P rough version............................................................. 45 3-33 Creating the spiraling road ...................................................... 46 3-34 Spiraling road ........................................................................ 46 3-35 Model Frami P finished ............................................................ 46 3-36 Cutting out the lean-to ........................................................... 47 3-37 Lean-to pictures..................................................................... 47 3-38 West façade restored .............................................................. 47 3-39 Cutting out the road from sperized image ................................. 48 3-40 Blue structure source.............................................................. 48 3-41 Circular part pictures .............................................................. 49 3-42 Roof source ........................................................................... 49 3-43 Roof ..................................................................................... 50 3-44 Roof main part of the building ................................................. 50 3-45 Roof pictures ......................................................................... 51 3-46 Hue/Saturation Tool ............................................................... 51 3-47 Floor source .......................................................................... 52 3-48 Floor pictures ........................................................................ 52 3-49 North façade complete ............................................................ 52 3-50 Frami P photo collage ............................................................. 53 3-51 Frami P logo .......................................................................... 54 3-52 Frami P UVW-unwrap editor .................................................... 54 3-53 Creating an Editable Mesh ....................................................... 55 3-54 Detaching the blue structure ................................................... 56 3-55 Assigning the new material to object ........................................ 56 3-56 Frami P completed model ........................................................ 57 0-1 Frami F render 1 ...................................................................... 60 0-2 Frami F render 2 ...................................................................... 60 0-3 Frami F render 3 ...................................................................... 61 0-4 Frami F render 4 ...................................................................... 61 0-5 Frami F render 5 ...................................................................... 62 0-6 Frami F render 6 ...................................................................... 62 0-7 Frami F render 6 ...................................................................... 63 0-8 Frami F render 7 ...................................................................... 63 0-9 Frami F render 8 ...................................................................... 63 0-10 Frami P render 1 .................................................................... 64 0-11 Frami P render 2 .................................................................... 64 0-12 Frami P render 3 .................................................................... 64 0-13 Frami P render 4 .................................................................... 65 0-14 Frami P render 5 .................................................................... 65 0-15 Frami P render 6 .................................................................... 65 0-16 Frami P render 7 .................................................................... 66 0-17 Frami P render 8 .................................................................... 66 1-1 Saving as .PSD .......................................................................... 5 1-2 Ruler bar .................................................................................. 5 1-3 Rotating an image...................................................................... 6 1-4 Mouse position and point of rotation ............................................. 6 1-5 Spherize menu .......................................................................... 7 1-6 Distort Tool ............................................................................... 8 1-7 Points that can be manipulated with Distort .................................. 8 1-8 Warp Tool ................................................................................. 9 1-9 Rectified image.......................................................................... 9 1-10 Blocked image ....................................................................... 10

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Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure

1-11 1-12 1-13 1-14 1-15 1-16 1-17 1-18 1-19 1-20 1-21 1-22 1-23 1-24 1-25 1-26 1-27 1-28 1-29 1-30 1-31 1-32 1-33 1-34 1-35 1-36 1-37 1-38 1-39 1-40 1-41 1-42 1-43 1-44 1-45 1-46 1-47 1-48 1-49 1-50 1-51 1-52 1-53 1-54 1-55 1-56 1-57 1-58 1-59 1-60 1-61 1-62 1-63 1-64 1-65 1-66 1-67

Photographs taken from oblique angle ...................................... 10 Perspective Crop Tool ............................................................. 11 PCT result ............................................................................. 11 Result after stretching the image ............................................. 12 Result after applying perspective and lens corrections ................ 13 Creating a new worksheet ....................................................... 14 Moving an image.................................................................... 14 Seperate pictures next to each other ........................................ 15 Layers .................................................................................. 15 Scaling the image to correct size .............................................. 16 Deleting excess with RMT ........................................................ 17 Prolems in the transition ......................................................... 17 Merging the layers ................................................................. 18 Using the best of each image ................................................... 18 Transition problems ................................................................ 19 Usage of CST......................................................................... 20 Final result after smoothening ................................................. 20 Before and after using the CST ................................................ 21 Frami P east with some contrast issues ..................................... 21 Contrast Tool ......................................................................... 22 Brightness/Contrast Editor ...................................................... 22 Brightness/Contrast Tool while creating a new layer ................... 23 Before and after using Contrast Tool......................................... 23 Levels Tool ............................................................................ 24 Levels Tool while creating a new layer ...................................... 24 Curves Tool while creating a new layer ..................................... 25 Example of manipulated curve ................................................. 25 Frami P east contrast.............................................................. 26 Contrast before...................................................................... 26 Selecting a source to copy....................................................... 27 Copying the source over the bad image .................................... 27 CST to smooth the transition ................................................... 28 Usage of CST......................................................................... 28 Before and after..................................................................... 29 Unnecessary objects ............................................................... 30 Usage of CST......................................................................... 30 Image after removing lanterns and pole.................................... 31 Selecting a source for HBT ...................................................... 31 Applying HBT......................................................................... 32 Result after removing unnecessary elements ............................. 32 Dodge and Burn Tool .............................................................. 33 Extending the bottom ............................................................. 34 Cutting off the excess ............................................................. 34 Circular structure ................................................................... 34 Model of the open structure ..................................................... 35 Collage circular part ............................................................... 35 Façade that is partly blocked by object ..................................... 36 Created façade ...................................................................... 36 Used images to create the façade............................................. 37 created façade ....................................................................... 37 Collage image........................................................................ 38 Resizing the images ............................................................... 38 Moving the images with the MT................................................ 39 Photo collage 1 ...................................................................... 40 Photo collage 2 ...................................................................... 41 Save to web .......................................................................... 42 Settings to create JPEG-image ................................................. 42

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Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure

2-1 Autodesk 3ds max start screen .................................................. 44 2-2 Selecting displayed viewports .................................................... 45 2-3 Snap toggle + options .............................................................. 45 2-4 Snap options menu .................................................................. 45 2-5 Creating a box ......................................................................... 46 2-6 Box parameters ....................................................................... 46 2-7 Editable Poly modification list .................................................... 47 2-8 Creating new edges ................................................................. 47 2-9 Move Tool ............................................................................... 48 2-10 Display axis's......................................................................... 48 2-11 Moving over X-axis................................................................. 48 2-12 Moving over Y-axis ................................................................. 49 2-13 Moving over Z-axis................................................................. 49 2-14 Extruding a polygon ............................................................... 49 2-15 Extruding a polygon ............................................................... 50 2-16 Parameters extrusion ............................................................. 50 2-17 Example model ...................................................................... 50 2-18 Getting rid of the excess of vertices.......................................... 51 2-19 Vertices selected .................................................................... 52 2-20 Welding vertices .................................................................... 52 2-21 Wireframe mode .................................................................... 52 2-22 Reducing the amount of polygons ............................................ 53 2-23 Create a new polygon in a plane .............................................. 53 2-24 Points for the new polygon ...................................................... 53 2-25 New polygon ......................................................................... 54 2-26 result after deleting ................................................................ 54 2-27 Render the model .................................................................. 54 2-28 Error in render ....................................................................... 55 2-29 Selecting the element that has to be flipped .............................. 55 2-30 Flipping the element ............................................................... 56 2-31 Model ................................................................................... 56 2-32 Checking amount of vertices.................................................... 56 2-33 Checking amount of polygons .................................................. 57 3-1 Model ready for UVW-unwrapping .............................................. 58 3-2 Bigger Viewport ....................................................................... 59 3-3 Material editor ......................................................................... 59 3-4 Slate Material Mode.................................................................. 59 3-5 Selecting a Texture Map ........................................................... 60 3-6 Connecting the Bitmap ............................................................. 60 3-7 Opening the UVW-editor ........................................................... 61 3-8 Opening collage ....................................................................... 61 3-9 Texture map in UVW-editor ....................................................... 62 3-10 Polygons in UVW-editor .......................................................... 62 3-11 Flatten Mapping ..................................................................... 63 3-12 Updated UVW-editor............................................................... 63 3-13 Moving the polygons out of the editor ....................................... 64 3-14 Moving the polygons individually .............................................. 64 3-15 Move Tool ............................................................................. 64 3-16 Breaking polygons .................................................................. 65 3-17 Rotating polygons .................................................................. 65 3-18 Vertices, Edges or Polygon ...................................................... 65 3-19 Editor after placing polygons on right positions .......................... 66 3-20 Model with pictures on it ......................................................... 66 3-21 Render the model .................................................................. 67 3-22 Rendered model..................................................................... 67

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LIST OF ABBREVIATIONS AND SYMBOLS RMT

Rectangular Marquee Tool

EMT

Elliptical Marquee Tool

CST

Clone Stamp Tool

HBT

Healing Brush Tool

PCT

Perspective Crop Tool

MT

Move Tool

RMB

Right Mouse Button

LMB

Left Mouse Button

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INTRODUCTION “In war, love AND visualisation everything is allowed” (Tapio Hellman, during a weekly meeting in the CAVE-lab)

3D visualisation is the core of this paper. More and more construction companies are using 3D software for designing. In the future it will be as commonly used as Word and Excel. But nowadays it is still a subject that has to be better explored. Autodesk 3ds Max is a programme that is written by people. This means there are sometimes some unclear problems which cannot be solved that easily as in a 2D designing software. Trial-and-error is the way to explore this software. But it is stupid to have every new person working with this software experiencing the same trial-and-error problems. This is why the process of designing and UVW unwrapping a building will be written down in this paper. Eventually an updated guide will be created to help other people with this subject. “Updated” because there are already guides about this subject, but these are expired. Every year the software improves so the guides have to follow as well. This is just a little chapter in the complex story that 3D software is.

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1

GENERAL INFORMATION

1.1

Seinäjoki University of Applied Sciences

Seinäjoen Ammattikorkeakoulu, SeAMK, or the Seinäjoki University of Applied Sciences, SeUAS, is a growing university located in Seinäjoki, Finland. The university has a total of 16 bachelor and 7 master degree programs. There are around 4800 students and 400 staff members active in SeUAS. The president of the university is Dr. Tapio Varmola. The SeUAS has 3 campuses, the Frami campus, Koskenalantie campus and the Ilmajoki campus. This last campus is located in Ilmajoki, a Figure 1-1 SeAMK aerial image neighbouring municipality. There are 4 faculties situated in these 3 campuses. In the Frami campus there is the School of Business and Culture, the School of Technology and the School of Food and Agriculture. The education in Agriculture is situated in the Ilmajoki campus. At last the School of Health Care and Social Work is situated in both the Koskenalantie campus as the Frami campus. Next to Tapio Varmola, the head of the university, there are 2 other men called Tapio, whom are more important for our work here. There is Tapio Pihlajaniemi, the international coordinator, and Tapio Hellman, a laboratory engineer. Tapio Hellman is the head of the CAVE-lab of the Seinäjoki university of applied sciences. The CAVE-lab, a virtual reality lab in the School of Technology in the Frami campus, is our workspace during our Erasmus in Finland.

1.2

The CAVE The CAVE-lab is a laboratory which makes it possible to study 3D models of all kinds of computer generated 3D structures, buildings, rooms, cities, etc. The technology let the viewer experience the virtual environments created with a computer. This can be made possible by a space in which the viewer is wearing

Figure 1-2 The Cave

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tracked stereo glasses and is surrounded by several projectors. It is the perfect place work on a project or do research. The lab has an optical positioning system, a pattern recognition device, data gloves and a navigation controller. So it is capable to make 3D graphics, pattern recognition, character animation, etc. Virtual reality technology can be applied on many areas, such as architecture, urban design, site planning, simulations, engineering, design, medicine, geology, astronomy, culture, history and entertainment. For example: the new hospital in Seinäjoki was designed in 3D. Which could be shown in the actual dimensions in the CAVE-lab. These 3D models of the halls and all kind of rooms could be entered by the doctors and nurses of the future hospital. This way they could check up front if the rooms were large enough for their interactions with the patients. Next to the virtual reality room the CAVE-lab consists of 4 offices. One of the offices is Tapio Hellman’s workstation. In the other 3 there are engineers working on different projects.

1.3

UVW unwrapping from scratch

Tapio Hellman has been working on a 3D map of Seinäjoki, already consisting of a 120 3D models. This map is also available on google earth. Realism can be added to these models with texture mapping or UVW Unwrapping. What is UVW unwrapping? UVW unwrapping is pasting 2D pictures on 3D models. What is the use of UVW unwrapped 3D models in the construction world? This way you can make photorealistic models of new and old buildings. You can even make a non-existing building photorealistic. For example when someone wants to build a house but is not sure about his choice of building materials. The design for the house that has yet to be build can be UVW unwrapped with pictures of other already existing houses. This way people can make more thought through decisions about a building to be. The 3D Seinäjoki is another interesting concept. By creating a photorealistic model of an entire city further development of this city can be better anticipated. For example if not only the houses but also the pipelines, electricity cables, etc. of the city can be modelled. A lot of construction errors like breaking cables during excavations can Figure 1-3 3D Seinäjoki be avoided. This way the whole underground utility system can be shown. So during city changes the effect on the environment can better be foreseen.

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With this technique we are going to make the models of Frami F and Frami P more realistic. These are 2 new buildings on the Frami Campus. The adding of realism to the models will be done by taking pictures of all façades of the buildings. Then we have to adjust or manipulate the pictures in Photoshop by removing obstacles in front of the building and by making the view on the façade perpendicular. After the façades are adjusted we paste them on the models we will create in Autodesk 3ds Max. This way we will have a realistic model of the buildings from the outside. The work will be divided in 2 big chapters. The Frami F chapter and the Frami P chapter. The Frami F chapter will be written by Thomas Grauwen. He will do the photoshopping, modelling and UVW unwrapping of the Frami F building. Joffrey Fontenelle will do the same about the Frami P in the Frami P chapter. The goal of all this work is to be able to write a new and up to date manual about the UVW unwrapping from scratch. So people who are new in the world of UVW unwrapping can be helped by using this guide. This guide will be divided in two as well. The Photoshop part, written by Joffrey Fontenelle, and the Autodesk 3ds Max part, written by Thomas Grauwen.

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2

FRAMI F

2.1

General Information

Frami F is a building of the School of Business and Culture of the Seinäjoki University of applied sciences in Seinäjoki, Finland. Frami F and Frami P are the new buildings on the Frami Campus. Frami F is a rectangular building with 4 levels. This building is already modelled in 3D before it was even build. But the outside of this 3D model is not very realistic. The task is to make this building look more realistic in 3D. This will be done by a technique called UVW unwrapping. It begins with taking pictures of the building from approximately 20 meters. After the whole façade is been photographed, the photos have to be adjusted in Photoshop. This means eliminate lens distortion and remove all obstacles on the picture in front of the façade. When the whole façade is ready it will be pasted on the 3D model in 3ds Max. This can be done by giving the pictures the coordinates of the 3D model so it fits on the model. Eventually we have a 3D model that looks very realistic. It’s not as simple as previously explained. A 3D model is a perfect image of the building, but in reality the building is not perfectly the same as the 3D model. The walls or the foundation can be a bit crooked, the dimensions might be a bit different, etc. The picture might not perfectly fit on the 3D model in 3ds Max. Other obstacles are adjusting the pictures. Removing obstacles in front of the façade might give a slightly different outcome as the reality. The lens distortion is also a difficult thing to adjust, it is almost impossible to adjust this perfectly to reality. Another difficulty is working with Photoshop and Autodesk 3ds Max. As a beginner these new software programs have to be learned during the process. In the beginning it is good to watch tutorials and read manuals but the best way to learn a program is by trial-and-error. So in the beginning it will not go that easy and it might get frustrating.

2.2

Photoshop for beginners

The first time pictures were taken the goal was to get a the whole façade in one picture. These pictures were taken during a grey day of the winter. This means there was not much sunlight which results in darker pictures. The first façade that was manipulated by Photoshop is the north façade of Frami F. This façade was first because the Photoshop software had still to be explored and the skills needed for this picture were minimal. They were minimal because the whole façade fits on one picture and there were not much obstacles in front of the building. The façade was manipulated by the basic tools like Perspective Crop Tool, Healing Brush and Rotate. These tools are explained in the guide.

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→ Figure 2-1Frami F north before and after

2.3

Intermediate Photoshop

2.3.1

East

After this first façade a more complex façade could be manipulated. The east façade consists out of a right and a left side because there is a small angle in the middle of the façade. So two facades are created for the east side.

Angle

Figure 2-2 Frami F East

The advantage of a picture taken from far away is that the whole building fits on it. But the disadvantage is there are more obstacles in front of the building. Because of these bare trees the whole building can be seen but the trees cannot be removed by a simple CST or HBT. So new pictures were taken from a close view so the obstacles in front are avoided.

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Figure 2-3 Pictures without obstacles

When these close pictures are adjusted in Photoshop they can be pasted onto the big original picture. This way the trees do not have to be removed from the original picture but they are removed by pasting another picture over it. This way you adjust the close-up picture to the big original one. So the right measurements can be found.

Figure 2-4 Pasted images

When the pictures fit the colors and brightness of every different layer in Photoshop can be adjusted so the combined pictures will have the same color.

Figure 2-5 Repaired contrast

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2.3.2

West

This type of process with one big picture and pasting smaller ones on it is only possible when you can make a picture which fits the whole façade. This is not possible on the west side of the building. Because of the surroundings of the Frami F building it was impossible to take clear pictures of the whole west side. There was even a piece in the left side of the façade that could not even been photographed properly. To make this façade all the usable pictures were put in the same Photoshop file and put in the right place.

Figure 2-6 All usable pictures next to each other

To fit all the pictures to each other the tools explained in the guide were used. But to create the photographed piece of the façade more skill was needed with the CST and HBT. With these tools pieces of the pictures were copied in the white area.

Figure 2-7 Fixed façade

Now three of the four sides are finished in Photoshop. But there is a problem with the fourth façade. There is a connection with another building on the south side of the Frami F building.

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Figure 2-8 Attached building

2.4

Modeling in Autodesk 3ds Max

Only the Frami F building is going to be unwrapped. So in order to make the fourth façade in Photoshop it must be clear how it looks like in the model. In this case there is a 3ds max design available of the architect. But this is too detailed, too many polygons and vertices. This makes the file too heavy and complex to UVW unwrap. A new easier and lighter design should be made. This can easily be done by using the architectural design and design a new one over it. So there is the certainty of the right measurements.

Figure 2-9 Architectural model

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Figure 2-10 Simplified model

2.5

Advanced Photoshop

2.5.1

South

Now the model is finished and the earlier questions about how to make the south façade are answered. Because of the other building attached to the Frami F building it is difficult to take decent pictures of the existing façade.

Figure 2-11 South façade

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Figure 2-12 South façade ground floor

It is impossible to manipulate these two pictures into one. Because non-existing pieces have to be created as well. These are created by using pieces of the other facades. Fit them together and paste them onto the original two.

Figure 2-13 Used pictures

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Figure 2-14 Combined pictures

2.5.2

Entrance cove

At the main entrance of the Frami F building there is a cove. This is also modeled in Autodesk 3ds Max which means it also has to be made in the texture map.

Figure 2-15 Entrance cove picture and model

These two sides of the cove were easily manipulated in Photoshop by the following the guide.

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Figure 2-16 Entrance façade

2.5.3

Roof

Not only the facades had to be made for the UVW unwrapping but also the roof. It is not easy to take pictures of a roof. This is why the roof picture of the Frami F and Frami P building is made up. A random picture of a bitumen roof was taken from the internet and adjusted. This process is explained in the Frami P chapter. The difference with the Frami F roof is the windows in the middle. The picture of the windows was taken from the highest floor of the Frami F building and adjusted in Photoshop with the basic tools explained in the guide.

Figure 2-17 Roof picture source and modified

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Figure 2-18 Roof pictures

2.5.4

Seventh Heaven

The south façade of the “seventh heaven” is just a copy of a piece of the west façade.

The “seventh heaven” is the highest floor of Frami F.

Figure 2-19 Seventh heaven façade

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Figure 2-20 Seventh heaven

2.5.5

Cutting pictures

Because the Frami F building has an out coming rusty cover every façade is divided in two pieces. The grey wall beneath and the rusty cover above. This means all the pictures will have to be cut in two.

Figure 2-21 Cutted façade 1

Figure 2-22 Cutted façade 2

2.6

UVW Unwrapping

The UVW Unwrapping of the model is done following the guide. The problem with the Frami F building was that it was designed in the architectural file. When the model was finished the architectural design was deleted so only the new model remained. Somewhere in the settings of the architectural file the UVW unwrapping was not able to be seen in a viewport. However the UVW unwrapping was successfully done. This problem was resolved by exporting the object to an *.OBJ file

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Figure 2-23 Export object

Then make sure the Faces option is Polygons before clicking Export.

Figure 2-24 Export settings

Reset the Autodesk 3ds Max file and import the object again in the new reseted file by clicking on Import.

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Figure 2-25 Resetting the file and importing object

Now with the default settings the texture map is shown onto the object.

Figure 2-26 Model with texture map

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3

MODELING FRAMI P STEP BY STEP

3.1

General information

Frami P is a building located next to the Seinäjoki University of Applied Sciences. It is a big parking house that is used by university students and teachers, but anyone is allowed to park here upon payment. The reason that the school decided to build an extra car parking, is because the university was and still is constantly growing and expanding, hence more parking space was needed. The park is managed by SeiPark, a company that owns multiple parking lots in Seinäjoki.

Figure 3-1 Frami P architectural model

Frami P is one of the two last buildings of the university that has not yet been modelled for 3D Seinäjoki, a virtual 3D model of the city. This is because both buildings have been constructed after the 3D model of the university was made. The building was designed by Jääskeläinen Architects and developed by Peab Infra Oy. The construction of Frami P started in May 2011 and was completed in December 2012. The long term of the construction can be explained by the need of driving piles into the ground for the foundations, but also the size of the project. The reason we chose for the Frami P is firstly because it is a part of the university that has not been modelled yet. Another reason is because it is an interesting building to model. The biggest body of the building is made of a quadrangle with smooth facades and a strange roof structure. The second part of the building, the round part, is something completely different and also more challenging to model. There is also a small lean-to on the side of the building. Both the round part and the lean-to are open structures and can become more difficult than smooth surfaces to model. In the next paragraphs, we will explain how we manipulated the pictures and applied the UVW-unwrapping to the building model. We will also discuss the problems we encountered and the solutions used for them. The first part that will be discussed are the pictures.

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3.2

Pictures

After choosing the building, it is time to take photographs of the entire building. The camera used for this is a Canon EOS 700D that is property of the Cave lab. A tripod was used for more stability while taking the photographs and also to check if the level is horizontal. It is important that you have pictures of every centimeter of the façade. In this case, it was impossible to fit the entire building on one photograph. Hence multiple pictures per façade were necessary. Here it is advised to always shoot the pictures so that the ones next to each other overlap enough. More criteria that have to be taken in account when photographing, can be found in the manual (manual p. 3-4). We started with the south façade. Here three pictures had to be taken and there were no obstacles in the way. The next stop was the east façade. Here the first problem was encountered; the façade is very long and there were also some lanterns and cars blocking a perfectly clear picture. We managed to fit the entire façade on six pictures and tried to avoid as many lanterns as possible. Next stop was the eastern part of the north façade. Only a small fraction of the north façade is visible, because here the circular part of the building is located and blocks most of this façade. A problem here is that the picture had to be taken from an oblique angle, which will result in a lot of editing. There was also a smoking shed blocking a clear image.

Figure 3-2 North façade left side

Now it was time to photograph the circular part. We made twelve pictures of the circular part. It is necessary to take so many, so that the pictures can be straightened out to make a picture of the circle like a façade after pasting them together. This rectangular façade picture will then be rolled out around the circular part. After this we took a picture from the west side of the north façade, which is only a small piece of wall, but also had to be taken from an oblique angle.

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Figure 3-3 North façade right side

Now for the west façade, another problem was encountered. There is a bunch of trees blocking a part of the façade. The image above is also usable for the west façade, if a perspective correction is applied to it. But this image alone was not enough to cover the entire part that is blocked by the trees. Thus another photograph from an oblique angle had to be taken from the right side of the trees.

Figure 3-4 West façade trees

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Now all that was left to photograph was the rest of the west façade. This happened without any other complications, since there was enough space to take clear pictures. Besides the two oblique pictures, three more pictures was enough to cover the entire façade.

3.3

Editing the pictures in Photoshop part I

First, we started with the smooth façades of the building. The first step is the straightening of all the images before pasting them together. We started with the perspective and lens correction of all the pictures. Starting with the south façade, then the east and west façades The last one is the north façade, but only the smooth wall. We decided to keep the circular part for last, because we were not entirely sure if making one big façade picture for the circular part was the best idea. Also, the high difficulty for the circular part demanded that we had more knowledge on how to edit the pictures in Photoshop. Elimination of the irrelevant objects of the pictures was the next logical step. This was done for all the pictures separately before pasting them together. After removing the blocking objects, the separate pictures of the façades were pasted together to create big pictures of the entire façades. After this follows an explanation of how the model was designed that will be used for Frami P. It explains how we started from the architectural model and transformed it into a usable model for the UVW-unwrapping. Later, we will return to Photoshop to create small images for a more detailed model. Here we also discuss how we made the images for the roof and the floor. Throughout this chapter, we will refer to the Manual for Editing Façade Pictures in Photoshop in the appendix for a more detailed description of a procedure. And then finally, the UVW-unwrapping for Frami P will be explained and which difficulties we had here.

3.3.1

Correcting the lens and perspective distortion

The first editing that had to be done in Photoshop, is correcting the lens and perspective distortion. For more details on the tools and tricks that were used to accomplish this, we can refer you to our manual in the appendices (manual p. 59).

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3.3.1.1

South façade

Figure 3-5 Frami P south

The south façade is not that large in size and consists of only three photographs. Starting on the left side, there was a lot of trial-and-error because this was the first picture. After a while, we found a good method that proved effective for correcting the lens distortion and perspective correction.

Figure 3-6 South façade picture 1

A problem here was that the roof was not entirely horizontal after applying the corrections (we had not discovered the Warp Tool yet).

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Figure 3-7 Error in the roof

This was solved by selecting just the curved part of the roof with the RMT and then pressing Ctrl+T to enter Free Transform. Then using the Distort Tool (holding down Ctrl-key when using the left mouse button on the corner of the box) to bend the part of the image so that the roof is horizontal.

Figure 3-8 Correcting the error

After this correction, the lens and perspective distortion of this picture were corrected.

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Figure 3-9 Picture after corrections

Next, we applied the same strategy to the other two pictures of this façade and didn’t encounter that many problems. The next part that will be discussed, are the corrections on the east façade.

3.3.1.2

East façade

Figure 3-10 Frami P east

The east façade is bigger and consisted of five pictures, so two more than the south façade. Therefore, it was more work to edit all the photographs. There were no real problems here with the corrections of the perspective and lens distortions. We just repeated the same strategy for all the pictures to make nice rectified images.

3.3.1.3

West façade

Figure 3-11 Frami P west

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For this façade, we could apply the same strategy again for about 75% of the wall. This part of the façade consists of three photographs for which it was easy to make the corrections. However, the other 25% was blocked by some trees. Here we had taken some photographs from an oblique angle. These pictures required a different strategy. As explained before in the pictures section, pictures were taken from the left and right side of the trees.

Figure 3-12 Pictures taken from an oblique angle

In the manual (p. 9-13) is explained how to use the PCT so that the images are usable for the façade picture. We applied this tool to make straight images and after this the tools for correcting the lens and perspective distortion. But then not all the problems were solved just yet. On the left picture, there was the shadow of the trees that created a big contrast difference with the other images. On the right side we had the opposite problem; a part of the picture was in over-exposure because of the sunlight and was very bright compared to the other images.

Figure 3-13 Shadow on the left picture, over-exposure on the right

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The shadow problem on the left part was easily solved with the Dodge Tool (guide p. 32-33). Than for the right picture we tried to apply the Burn Tool at first. However, this was didn’t give a very clear result, so we had to look for another method to solve this. We then decided to use the CST (guide p. 29-31) so that the tiles, metal structure and concrete lean-to would have exactly the same colors as the rest of the building.

3.3.1.4

North façade

Figure 3-14 Frami P north

Here we encountered a similar problem as for the west façade. To get the entire visible part of the façade on one picture was only possible if it was taken from an oblique angle. This was the case for both sides of the wall. The left part is a pretty big wall, the right part is a very small piece of wall and is easier to correct.

Figure 3-15 Picture taken from an oblique angle

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Here, we applied the PCT again to rectify the image. After this, we used the tools to correct the perspective and lens distortion again to complete the images.

Figure 3-16 Pictures after editing with PCT

Now that the corrections have been applied to all the pictures that we will use for the façades, it is time to erase all unnecessary elements of the pictures. How this was done will be explained in the next paragraph.

3.3.2

Elimination of irrelevant objects

3.3.2.1

South façade

There were no objects blocking the south façade, so we were finished very quickly here.

3.3.2.2

East façade

Here there were some lanterns blocking a perfect view and one car on three different pictures. With the CST (guide p. 29-31) it was easy to erase these from the images.

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Figure 3-17 Lanterns and small pole

3.3.2.3

West façade

Here part of the façade was blocked by some trees, but this has already been solved in the previously (pictures from an oblique angle). Besides this, there was only some grass that was disturbing the image of the concrete wall a bit. There was also a car standing in front of the same concrete wall. Both these obstructions were erased with the CST.

Figure 3-18 Grass and car

3.3.2.4

North façade

Here on the left side, the image is obstructed by a smoking shed. There is also a metal ladder which gives access to the roof. Both the smoking shed and the ladder have to be removed. The shed is blocking the vision and is not a part of the building. The ladder is part of the building, but is deformed because of the usage of the PCT. It is better to just remove it, because it gives a strange view on the wall (it looks like you look on it from the side, no matter from which angle you look at it). Both were removed with the CST.

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Figure 3-19 Smoking shed and ladder

3.3.3

Pasting the pictures together

Now that all images have been rectified and clear of obstacles, it is time to paste them together to create one big image of every façade. The process will be explained for every façade separately. After some trial-and-error we found a method that worked pretty good and efficient (guide p. 13-21).

3.3.3.1

South façade

We started again with the south façade since this one was the easiest to put together. The pasting together of this façade is used as an example in the guide, so the problems we had here are explained in the manual (guide p. 1321). Below you can see an image of what the façade looks like after the pasting.

Figure 3-20 Complete south façade

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3.3.3.2

East façade

Figure 3-21 Complete east façade

For this façade we encountered some more problems. After pasting them next to each other, it was very visible that it were all different pictures. The color contrasts were very high, the roof structure was not linear at all, the height of the concrete plinth on the bottom was varying for every picture, etc. The contrast is a worry for later, but the other problems have to be fixed in this step. For this, the CST and HBT was mainly used and the problems could be fixed within acceptable boundaries. However it was very possible to solve this, it is time consuming since you keep on finding errors and it is easy to make mistakes. The fixing of the contrast will be discussed later.

Figure 3-22 Transition errors

3.3.3.3

West façade

Not too many problems occurred with the pasting of this façade. Even the pictures made from an oblique angle didn’t pose any problems. The only problem here was again the roof that was not completely horizontal. This was fixed with the CST. There are also some differences in the contrast here, but these will also be fixed in a later paragraph. There was a small problem that we fixed here though. The blue metal beam on the left side was completely cut of the picture because of the PCT. We decided to move it a bit to the right with the CST. We simply did this by taking the beam

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as the source for the CST and then simply drawing it again. After this was done, we removed the old beam with the CST.

Figure 3-23 Steel beam correction

3.3.4

Erasing of the lights

Now that the façade pictures for south, east and west are ready, we noticed something that was disturbing the image. Inside the building, there are constantly TL-lights burning. Because the images are all taken from a different position, the lights are all directed in a different angle. This creates a confusing effect on the façade and makes it look disturbed. To solve this, we decided to just eliminate all the lamps from the picture with the CST and the HBT. This had to be done for both the east and west façades.

Figure 3-24 Frami P east before erasing the lights

This was also a time consuming process, but the result was a big improvement to before. The image was less chaotic and looked more realistic. Now all that has to be done to the façade pictures is the fixing of the color differences.

3.3.5

Contrast

Now it is time to put the last hand to the images of the façades. The contrast is a very important factor that will have to be corrected. If this is not done properly, it will remain very visible that it are all different pictures that are pasted together. There are different methods that were used to accomplish this and they are all explained more in detail in the manual (manual p.21-29).

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3.3.5.1

South façade

Here was actually no work at all for the contrast. The colors of the different pictures were matching enough.

3.3.5.2

East façade

Here was a lot of work to fix the contrast. After trying multiple times with the levels and curves tools, we were not able to reach a satisfying result. We then decided to change the color of the metal rosters with the levels tool, as for these parts we got good results. For the tiled parts of the wall we had another solution. We decided to copy the best part of the wall over the bad parts with the rectangular marquee tool and then finish it off with the CST and the HBT. After doing this, this façade is also ready.

Figure 3-25 Frami P east ready

3.3.5.3

West façade

On this façade were also some color differences, but they were fixable with the Contrast/Brightness Tool. We did the metal structures and the tiled walls separately though, because both needed a different amount of change. After some trial-and-error, we came to a satisfying result. This image is now also ready.

Figure 3-26 Frami P west ready

3.3.6

Cutting out the images

This is done in a few minutes. There are no real complications here. We just cut off the excess and now the images are ready for the collage.

3.3.7

Conclusion

After finishing the façades, it appeared that we could have saved some time. If we would have first put together the pictures and then eliminate the irrelevant objects, we would have had less work, because sometimes parts of the pictures just fell off. It might also have been interested to fix the contrast in the same process, since we copied entire parts of the eastern façade to fix the color differences in that wall. This way, we could have avoided the need to remove the lanterns for example.

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3.4

Creating the model with 3ds max

After creating the façades, we decided to make the model first. We did this because now it was actually time to model the circular part and we first had to decide how we would model it. This part will be a bit more technical, because this model is a bit different than the manual we made. There was a 3d model available that the architect had made, but it was made from five million lines! This model would be way too heavy for in 3d Seinäjoki, so it had to be simplified. We did this by drawing simple shapes over the model with the correct dimensions. After this, the original model was deleted entirely. Now all that remained was two boxes and one cylinder. We made the cylinder so that the circular base was actually a polygon with sixteen corners and not an actual circle. This is to reduce the amount of vertices in the model, but also to make it simpler for the pictures.

Figure 3-27 Frami P simple model

We also added a box on the right side that represents the lean-to. We first intended to just use this as a model. Now we started to think about how we would put the pictures of the circular part on it. After some brainstorming, we came to the conclusion that there might be an easier method. If the model would be drawn with more detail, it would actually be possible to make small pictures and put these on all the separate parts. This means that the model would become a lot more detailed for the circular part and the lean-to on the side. All the columns would have to be drawn, the spiraling road inside the garage, the blue banner, the columns in the cylinder, etc. We started by changing the height of the cylinder so that it would actually represent the roof of that part. We then copied it (select cylinder, hold Ctrl-key and then left click the box -> select MT -> Hold down Shift-key while moving with one of the axis’s) and placed this at the bottom, representing the floor. We did the exact same for the lean-to.

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Figure 3-28 Copying the roof

Now to finish the lean to first, we drew a box that represents the concrete wall and then drew one pillar and copied it fifteen times. The rough structure of the lean-to is now finished.

Figure 3-29 Lean-to west façade

Now for the circular part, to create the blue structure, we copied the floor once again to the middle area. We then changed the height to about the size of the blue banner. Now select the cylinder that represents the blue structure and go to Modify tab, select Edit Poly from the modifier list. Now with the cylinder still selected, go to the Edit Geometry tab and select attach. With attach activated, click on the box that is also part of the blue structure.

Figure 3-30 Attach function

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It will now be attached to the editable poly. Next, we deleted the top and bottom of this body by selecting it, activating the polygons. Now click on the top and hit the Del-key, click on the bottom and hit the Del-key again. We can also delete the polygons that are invisible and unnecessary (right click -> isolate selection for better view).

Figure 3-31 Deleting the excess polygons

Now this part is finished, we can put in the columns. The columns are just simple boxes that have to be placed on the right position. The model already looks a bit more realistic now.

Figure 3-32 Frami P rough version

Now probably the hardest part was to make the spiraling road that goes from the ground to the first floor. It took a while to figure out how to do this. After a long period of trying a lot of functions in 3ds max, we finally found how to do it. In the Create tab, select Dynamic Objects from the expanding menu. Then we had to select spring. We needed one and a half turns and we also needed a rectangular wire. After creating the spiral, we placed it into the model and also put a floor plate there on the first floor.

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Figure 3-33 Creating the spiraling road

Figure 3-34 Spiraling road

Now, the model is finished. All that is left to do now is attach everything to each other and make sure all are in the proper positions. Also the welding of the vertices is important, to reduce the amount of those in the model. After all this was done, the model was ready. Now all that was needed to complete is, was the collage with the photographs. For that, we will have to do some more editing in Photoshop because we need pictures of all the new things we created.

Figure 3-35 Model Frami P finished

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3.5

Editing the pictures in Photoshop part II

Because we decided to make the model more detailed, we need some more pictures. Small pictures are needed now from detailed parts from both the circular part and the lean-to on the west side.

3.5.1

West façade

We can now cut the lean-to out of the west façade and replace that part of the picture with a tiled wall. The picture of the lean-to can be cut up in different parts that can be used. The concrete wall will be one part, one of the columns can be used as an image for all of the columns and we also need a picture of the side of the roof. These pictures can all be cut from the image of the lean-to that is cut from the west façade.

Figure 3-36 Cutting out the lean-to

All these parts were put into one file and this is the result.

Figure 3-37 Lean-to pictures

Now to fill up the hole in the west façade, we copied a piece of the tiled wall several times next to each other. Afterwards this was moved to the hole and scaled a bit so it would fill it up entirely. Finally the layers were merged and the picture was a quadrangle again.

Figure 3-38 West façade restored

3.5.2

Circular part

For the circular part, there are also some pictures needed. We would need one from the blue structure, the columns, the sides of the spiraling road and the

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side of the roof. There is also a sign on one part of the blue structure, but we will add these after the UVW-unwrapping in 3ds max. The picture of the column was the easiest; we just copied a part several times on top of each other to reach the length of the column. For the roof, we took the same picture as for the lean-to. For the sides of the spiraling road, we applied the corrections for lens and perspective distortion. We first applied a Spherize filter and then used the RMT to select a part of the road.

Figure 3-39 Cutting out the road from sperized image

This part that we selected, was rotated to a horizontal position and then edited with the Transform Tool to a nice horizontal fence and concrete road. Now for the blue structure, a piece with the least lights behind it was selected.

Figure 3-40 Blue structure source

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First, the blue part was cut out with the RMT and made perfectly straight. Next, the CST was used so that a clear blue banner would remain and all the lights behind it etc. erased. Next, we put all the pictures belonging to the circular part in one file and this is the result.

Figure 3-41 Circular part pictures

3.5.3

Roof and floor

The last pictures that we need are those of the roof and floor. There is no aerial image available from the Frami P, so we had to figure something out ourselves. For the roof, we found an image of bitumen on the internet.

Figure 3-42 Roof source

This picture was manipulated with the Transform Tool, so that the lanes became vertical. The picture was copied several times next to each other.

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Figure 3-43 Roof

Now, the entire thing was copied again and then added another border.

Figure 3-44 Roof main part of the building

The roofs for the lean-to and circular part were cut out of this roof, using the RMT and EMT. All these pictures were moved in the same file and this is the result.

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Figure 3-45 Roof pictures

Later, we still changed the color of the roof from blue to grey. The Hue/Saturation Tool was used for this.

Figure 3-46 Hue/Saturation Tool

Now all that is left is the floor. For this we also looked up an image on the internet.

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Figure 3-47 Floor source

We simply cut out the shape of the floor with the RMT and EMT and put it in the same file. We used this floor image also for the spiral road.

Figure 3-48 Floor pictures

3.5.4

North façade

For the north façade, it was necessary that we made a complete image of the façade. This is necessary, because in the model there is a polygon that needs a picture on it. Part of this picture will not be visible, so it is actually not that important what is there. For this reason, we just made the wall a bit longer by copying the left part with the CST. We then pasted on the right part and made a complete façade now.

Figure 3-49 North façade complete

Now that this façade is finished, all the pictures are ready to be placed in the collage.

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3.5.5

Collage

To create this collage, we refer to the manual. This collage has been used as example in the manual (manual p. 95959). We also added a white quadrangle in the collage. The use of this is that we will put the letters ‘Frami P’ on this to give them a white color.

Figure 3-50 Frami P photo collage

3.6

UVW-unwrapping in 3ds max

3.6.1

Frami P sign

Before starting the unwrapping, the letters ‘Frami P’ still had to be added on the model. This was done by writing four 2d texts: ‘Fr’, ‘am’, ‘i’ and ‘P’. We placed these against the blue structure. We then extruded them a bit with the extrude tool.

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Figure 3-51 Frami P logo

3.6.2

UVW-unwrapping

With the collage ready, we can now start the UVW-unwrapping. To do this, we followed the same strategy as explained in the manual (manual p. 58-66).

Figure 3-52 Frami P UVW-unwrap editor

As you can see, all the polygons have been placed in their corresponding picture. We did however use fewer pictures than expected. For example, we just dragged all the concrete columns in the concrete wall, since it was exactly the same material and it was easier to drag it there.

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When we had to place a lot of polygons in the same material, we just put all the polygons on each other first and then move them to the material. By doing it this way, we saved some time.

3.6.3

Opacity of the blue structure

The final step we have to do to complete the model, is change the opacity of the blue structure so it is possible to watch through it. This can be done without making a new opacity map. To do this, we will have to detach the blue frame from the rest of the building. We did this in the following steps: Modify tab -> Select Unwrap UVW and Editable Poly (hold down Ctrl-key while clicking) -> Right click, then Collapse all

Figure 3-53 Creating an Editable Mesh

Now you will get an Editable Mesh. We then did the following steps: Editable Mesh -> Polygon -> Select all the polygons of the blue structure by clicking with the left mouse button and holding down the Ctrl-key -> Select detach -> Choose a name

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Figure 3-54 Detaching the blue structure

The blue structure is now detached from the main object. Now we have to make a new material that we will use on the blue structure. Go to Material Editor and make a copy of the UVW map by dragging it to one of the empty boxes. We then changed the opacity to about 75. With the blue structure selected, we then clicked on Assign Material to Selection. A box will pop up, select here to rename the material and give it a new name. Hit enter and now it is possible to look through the blue structure.

Figure 3-55 Assigning the new material to object

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3.7

Finish

The model from Frami P is now entirely ready. Below is an image of what the final model looks like.

Figure 3-56 Frami P completed model

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CONCLUSION…. The written guide gives a beginner in the matter of UVW unwrapping a helping hand. It is an easy step by step guidance with additional information about our own experiences. These experiences were mostly gained through the trial-anderror method. The trial-and-error might not be the fastest method to texture map a 3D model. But it is the best way to gain true knowledge of the matter. A mixture of pieces from other already existing guides could have been given. But in that case we would not have the knowledge and skill we possess nowadays.

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LITERATURE LIST Books Gerhard, M., & M. Harper, J. (2010). Mastering Autodesk 3ds Max Design 2011. Indiana: Wiley Publishing, Inc. Mikko Lahti, Tapio Hellman (2008) Virtual laboratory instructions: Shooting and editing façade photographs. Seinäjoki University of Applied Sciences – School of Technology Mikko Lahti, Tapio Hellman (2008) Virtual laboratory instructionsTexture mapping of virtual models. Seinäjoki University of Applied Sciences – School of Technology Heikkilä Saija, Tietotekniikan ko (2013) Visualisoinnin Perusteet: Rubikin kuutio ja sen animointi. SeAMK Tekniikan yksikkö Articles and Websites Autodesk 3ds Max Learning Channel: https://www.youtube.com/channel/UClS3gPxzFYgTUz6JOIruyqA Free tutorials for Autodesk 3ds Max and Photoshop CS6: https://www.youtube.com/ Seinäjoki University of Applied Sciences. Found on 22 February 2012: http://www.seamk.fi/en Software Adobe Photoshop CS6 (64 bit) [Software]. (2013). Available on Adobe.com: http://www.adobe.com Autodesk 3ds Max Design 2014 (64-bit) [Software]. (2014). Available on Autodesk.com: http:/usa.autodesk.com/3ds-max/trial/

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APPENDICES Frami F

Figure 0-1 Frami F render 1

Figure 0-2 Frami F render 2

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Figure 0-3 Frami F render 3

Figure 0-4 Frami F render 4

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Figure 0-5 Frami F render 5

Figure 0-6 Frami F render 6

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Figure 0-7 Frami F render 6

Figure 0-8 Frami F render 7

Figure 0-9 Frami F render 8

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Frami P

Figure 0-10 Frami P render 1

Figure 0-11 Frami P render 2

Figure 0-12 Frami P render 3

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Figure 0-13 Frami P render 4

Figure 0-14 Frami P render 5

Figure 0-15 Frami P render 6

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Figure 0-16 Frami P render 7

Figure 0-17 Frami P render 8

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MANUAL The following appendix is the manual that we wrote on how to make photorealistic 3d models. In it, we described our way of working in detail. You will find step by step instructions that will guide the reader through the process of making 3d models.

Manual Creating Photorealistic 3D Models With Photoshop and 3ds max

Bachelor in Construction Joffrey Fontenelle Thomas Grauwen

TABLE OF CONTENTS TABLE OF CONTENTS .......................................................................................... 2 1

PART I: MANUAL EDITING FAÇADE PICTURES IN PHOTOSHOP ............ 3

1.1 1.2 1.2.1 1.2.2 1.2.3 1.2.4 1.2.5

Photos.................................................................................................. 3 Editing the pictures in Photoshop ........................................................ 4 General tips for Photoshop ........................................................................4 Getting started ........................................................................................4 Lens distortion and perspective correction ...................................................5 Creating a façade blocked by an object .......................................................9 Creating the façades............................................................................... 13

1.2.5.1 1.2.5.2

Method 1: moving the pictures over each other ..................................................................... 16 Method 2: cutting and pasting ............................................................................................. 18

1.2.7.1

Contrast ........................................................................................................................... 21

1.2.7.2

Removing of unnecessary objects ........................................................................................ 29

1.2.6 1.2.7

Smoothening the transition ..................................................................... 19 Cleaning up the pictures ......................................................................... 21 Brightness/Contrast Tool ......................................................................... 22 Levels Tool ............................................................................................ 23 Curves Tool ........................................................................................... 24 Replacement ......................................................................................... 25

1.2.8

Clone Stamp Tool ................................................................................... 29 Healing Brush Tool ................................................................................. 31 Dodge and Burn Tool .............................................................................. 32 Finishing ............................................................................................... 33

1.2.8.1 1.2.8.2

Extending the bottom ......................................................................................................... 33 Cutting out the image ......................................................................................................... 34

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PART II: MODELING IN AUTODESK 3DS MAX ......................................44

2.1 2.2

Preparing Autodesk 3ds Max.............................................................. 44 Designing in Autodesk 3ds Max.......................................................... 46

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PART III: UVW UNWRAPPING IN AUTODESK 3DS MAX .......................58

3.1 3.2

Connecting bitmap to material ........................................................... 58 Fitting object to the bitmap................................................................ 62

1.2.9 1.2.10 1.3 1.4

Exceptional cases ................................................................................... 34 Creating missing parts ............................................................................ 36 Resizing the images and making the collage ...................................... 37 Finishing ............................................................................................ 41

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PART I: MANUAL EDITING FAÇADE PICTURES IN PHOTOSHOP

This part of the manual is a detailed guide on how to edit façade pictures in Photoshop. It will take the reader through the process from start to finish. The manual will handle most tools that are useful to create good façade pictures. There are also some general tips for working with Photoshop and more specific for editing the façades. The final goal of this part is that a collage of photographs is made that will be used to UVW-unwrap on a 3d model in 3ds max.

1.1

Photos

At first, this may sound as an easy job. However, there’s more to it than you could expect at first. It is very important that this part is executed with care and precision, as the pictures form the base of the project. The main goal is to get pictures of all the façades and then edit them in Photoshop to make them rectangular, so that they will fit on the model. Possible spherical lens distortion must be corrected first. To avoid too much editing of the pictures, it is important to take the pictures from the biggest distance possible but on the other hand close enough to maintain the resolution. By doing this, the lens distortion will have less influence on the picture and you will also have to edit fewer pictures (and thus paste less pictures together). It’s also important to be standing perpendicular to the building when the picture is taken, as it will greatly simplify the editing of the pictures. To avoid color differences between the pictures, optimal weather conditions are advised. These optimal conditions for the pictures are that the weather is cloudless and preferably the sun is shining on the wall. Contrast between the different parts can be edited afterwards, but avoiding this can save a lot of time. All these parameters together, will be decisive for the quality of the pictures and the editing you will have to do afterwards. However, it is not always possible to shoot a picture when standing perpendicular to the building. Sometimes a big object is blocking a part of the façade (e.g. trees). When this happens, the pictures will have to be taken from an oblique angle. These pictures can be edited later in Photoshop. It is always advised to avoid this, because this usually results in different colors and shapes For the Frami P, we had to take the pictures for most of the façades from a maximum distance of approximately 20 meters. Because of the small distance, we will have to take several pictures of the façades to photograph it entirely. This also means that the lens distortion will be greater, meaning that we will have more work in Photoshop to edit them and paste them all together. On the north side of the building, there is also a circular part of the building where the cars can drive up and down in a spiral. Because of the round shape, it is impossible to apply the UVW-unwrapping method, so we won’t have to edit the pictures in Photoshop. Instead, we will have to model the circular part ourselves in 3ds max. This forms a different kind of challenge than the rest of the building and is more work than any of the other façades. On the west side of the building we have encountered another problem; there are some trees in the way preventing us from taking to take a clear picture of the entire façade. We will solve this by taking pictures from different angles of

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the façade (the part that is blocked by the tree). Later we will edit these pictures in Photoshop so that it looks like there are no trees in the way.

1.2

Editing the pictures in Photoshop

1.2.1

General tips for Photoshop

In Photoshop, you can basically change everything about a picture and make it exactly as you want it. In the guide, some tools will be explained in detail, but there are always other tools that can prove to be useful in certain cases. A lot of trial and error will be necessary to understand how it is best to edit the pictures and come to the best possible result. A first tip, is that is always important to work with layers. If you are not pleased with the result, you can just delete the layer, even a while after you made the change for the picture. Therefore, it is always advised to keep your original picture and then just create a new layer before you apply any changes to the image. Later, when the image is completely finished, you can merge all these layers together in one final layer, so it becomes one photograph. Another tip is that you can find everything about Photoshop on the internet. There are countless guides, tutorials, etc. that you can find on the internet.

1.2.2

Getting started

Once the photographs have been shot, pick out the good pictures that you will use. The best pictures are the ones that show the least deformations from what the building looks like in reality and also where the colors are the most matching to each other. In other words the pictures that will need the least editing. To avoid misunderstandings, place the good pictures in a separate map in which all Photoshop files will be saved. The pictures of a same façade should get a logical name and numbered, so all the pictures of a façade are ranked in a logical order. To start, open all the pictures in Photoshop and saved them as a .psd file (Photoshop file).

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Figure 1-1 Saving as .PSD

1.2.3

Lens distortion and perspective correction

Once finished the preliminary work, you can start applying the first corrections to the pictures. The first step is to correct the lens and perspective distortion. There are some guidelines to explain the basics of these corrections, but there will still be a lot of trial-and-error. The following steps will guide you through the process. To start, you will first have to check if the picture is taken horizontally. If it is not perfectly horizontal, the effects of the filters will be less effective. To check this, we can draw horizontal lines with the help of the ruler bar. To activate this bar, press Ctrl+R or go to view and click on rulers, so the checkmark appears. Now draw some horizontal and vertical lines with the help of the ruler bar, simply by clicking and holding the left mouse button on either of them and drag the mouse to the desired position.

Figure 1-2 Ruler bar

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After drawing the necessary lines, it should become clear if the picture is horizontal or not. If a correction has to be made, press Ctrl+A to select the entire picture. Next, go to Edit in the toolbar on the top, expand transform and then click on rotate (or Ctrl+T to enter Free Transform). If you hover the mouse cursor over the side of the picture, the cursor will change into a double, curved arrow. This cursor indicates that when you click and hold the left mouse button, you will be rotating the object around the crosshair in the center. Rotate the picture to the desired position or fill in the value for the angle on the top.

Figure 1-3 Rotating an image

Figure 1-4 Mouse position and point of rotation

Now that the picture is horizontal, apply a filter to the picture, to straighten it out a bit and remove some of the lens distortion. To do this, in the toolbar on the top, go to filter, than hold your mouse on distort to expand the list and click on Spherize. The following screen will pop up. Here you can change how much you want to spherize the picture. Going to the negative size will pull the picture inwards, the positive side will push the picture outwards. On the small grid on the right, the effects of the Spherize Filter are visible. After you find a suitable correction (usually between -4 to -8), click ok and the filter will be applied to the picture.

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Figure 1-5 Spherize menu

Now you can finally start with the perspective correction of the picture. The goal of this correction is making the picture look more realistic, by straightening the walls, doors, etc. Basically, you will make all horizontal elements become horizontal on the picture and vertical elements vertical. To do this, you will make use of the Transform function again. First press Ctrl+A to select the picture. Then go to Edit, Transform and then click on Distort (another way to get there is press Ctrl+T and then hold down the Ctrl-key when clicking on the corners). Now, you can edit the picture, by clicking on the square in a corner of the picture. By holding the left mouse button and dragging the mouse, you will see that the shape of the picture changes. It’s also very helpful to use the guide lines again from the ruler, to aid you in straightening the image. A good strategy to straighten a picture is to start on one side and correct the outer wall there so that it’s straight by pulling the upper corner. Next, go to the other side and do the same. You will see that it will improve every time you correct it. After this was successful, you will have to edit the height of the picture a bit. Because of all the pulling on the picture, it became a lot flatter and will have to be restored in height. You can do this by pulling the square that is located on the center of the top. If these corrections are not adequate, try manipulating the other corners and see if that works better.

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Figure 1-6 Distort Tool

Figure 1-7 Points that can be manipulated with Distort

There are other tools you may use to rectify the image. These tools can also be found under Transform, for example Scale, Rotate, Warp, and Perspective. A tool that could be very useful is warp. With this tool you can bend the image on multiple points and will bend only a certain area of the picture. This tool can be surprisingly useful to correct the bending of the picture after using the distort tool.

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Figure 1-8 Warp Tool

After all these corrections, try to get a rectified image. Now apply these corrections to all the other images of the building so that we get rectified images of the entire building.

Figure 1-9 Rectified image

1.2.4

Creating a façade blocked by an object

Sometimes it can occur that a part of the façade is blocked by a large object that cannot be evaded. This can be a tree for example, a bus stop, a kiosk, etc. In this case, it will be necessary to take pictures from an oblique angle and then later edit them in Photoshop. In the example, the left part of the building was blocked by some trees.

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Figure 1-10 Blocked image

In order to get the entire building on pictures, a picture had to be taken from an oblique angle on the left side of the trees and on the right side.

Figure 1-11 Photographs taken from oblique angle

These pictures can be rectified quite easily with a tool in Photoshop. The tool used for this is called Perspective Crop Tool. This tool is easy to use; however it takes some practice to fully understand how it works. It can usually take a few attempts to get it right, so in this step trial and error will be the way to work. To start, select the perspective crop tool from the left tool bar. You can then create a quadrangle by clicking with the left mouse button. It can be useful here to use the assistive lines from the ruler bar. Make the quadrangle so that the part of the façade that you want to extract from the image is fitted in the polygon, preferably with some extra space on the sides. You can still edit the box afterwards by moving the mouse on the corners and dragging the mouse while holding the left mouse key. You can scale the polygon by dragging the middle dots on the raster. Rotating is possible by dragging next to the box.

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Figure 1-12 Perspective Crop Tool

Try to make the edges of the box as parallel as possible to the building edges. Tip: you can draw the box on the edges of the building and later scale the box a bit larger. This way it will be parallel with the building edges. If you think the box is in the right position and shape, hit the Enter-key. This should result in a picture like the image below.

Figure 1-13 PCT result

Usually the picture will not be perfect and probably also look stretched, either horizontally or vertically. This can be solved by stretching the image to a more realistic size. To do this, move the picture in a new empty document (any size). This is necessary, because if stretched in the same file, part of the picture will

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be lost (the picture is too small). After moving it here, select the picture with the RMT. Next, press Ctrl+T to enter free transform. Stretch the image by clicking and dragging on one of the sides of the box to the preferred size and press enter. The image is now on a correct size, but you will see there will most likely still be some deformations. These can be corrected with the methods explained earlier in the guide, such as the Distortion and Warp tools.

Figure 1-14 Result after stretching the image

After straightening the picture, apply the same strategy for the picture on the right side. Sometimes it is enough to take a picture from just one side. Here in the example it was from two sides.

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Figure 1-15 Result after applying perspective and lens corrections

These pictures will be pasted to the rest of the pictures from the façade in the next step.

1.2.5

Creating the façades

After correcting all the images of a façade, it is time to paste all the pictures together to get a complete picture of the entire façade. Open all images of the façade in Photoshop. Also, create a new image, for example 25000x12000 pixels, by pressing Ctrl+N and filling in the values. In this picture, we will paste the pictures together. Preferably, you can fit the original pictures next to each other in this new image without rescaling them. This is important, because scaling them can lead to a loss of quality of the pictures, so make sure you make the new image large enough. It is also preferable to have a black background set for the images, so that you can clearly see the borders.

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Figure 1-16 Creating a new worksheet

In order to paste the pictures together, the other pictures will have to be moved in the new image. You will have to move the pictures in the image in a logical order (so starting with the left picture and ending with the right) and then paste them together with some tricks. There are several methods to move an image from one file to another. The easiest way, is to press Ctrl+A to select the entire image, and then select the Move Tool (or press V). Click and hold the left mouse button on the image and then drag the image to the tab of the new image. The screen will switch to the new image if you hold the mouse there for a moment, then move the mouse back down and drop it (release the left mouse button) on the location where you want it. Repeat this process for all the pictures of a façade.

Figure 1-17 Moving an image

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Figure 1-18 Seperate pictures next to each other

Now that they are all in the same file, it is time to paste them together. Every picture has now its own layer, so make sure to check you are working in the correct layer when applying a transformation to a picture. You can find the layer section on the right side of the screen.

Figure 1-19 Layers

A first thing we have to do, is make sure that they are all the same height and that the pictures will flow over in each other and the correct heights (e.g. the concrete plinths on the bottom should have the same height on all the pictures). Move the pictures closer to each other, so it is easier to compare. It is also advised to use the horizontal and vertical lines from the ruler bar again, to check the height of the elements. The easiest way to do this is put the roof on the same height as the picture next to it. Next, select the image with the RMT and press Ctrl+T to activate Free Transform. Now scale the picture by clicking and dragging on the bottom square (a double arrow will appear i f you hold the mouse there) of the bottom square on the box. Use the assistive lines to check how much you have to scale. If the picture looks a bit deformed, it might also be necessary to scale it horizontally. Apply this to all the pictures of the façade, before proceeding to the next step.

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Figure 1-20 Scaling the image to correct size

The next step now is pasting them together. There are different ways to do this and this also depends on the kind of building you have. Sometimes it is perfectly possible to move the pictures over each other and they will perfectly fit together. This is usually the case with smooth walls and buildings with a simple structure. In the case of the example, moving them over each other was not possible, because of the complexity of the roof structure. Here it is easier to cut out pieces of the pictures and placing them next to each other and afterwards making the transition smoother with the help of some tools. The advantage of the first method is that the smoothing of the edges will not be necessary. Both methods will be explained.

1.2.5.1

Method 1: moving the pictures over each other

For the first method, a small part of the photo will be cut of first. Just a small overflow is necessary, because if it is too big, the chance of a good transition will be lower. In the example, the selected area between the two vertical lines can be deleted. It is preferable to make the transition of the two pictures in an area with as less detail as possible (so where there are no elements like windows, doors, etc.). This will make the job much easier.

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Figure 1-21 Deleting excess with RMT

After deleting the excess of the picture, lower the opacity of one of the pictures, so we can see through it when we move them over each other. This can be done per layer, on the right side of the screen. After lowering the opacity to about 50%, move the pictures over each other. In the picture below, you can see the result is pretty good for this picture, but there are some minor mistakes in it. Besides these errors, the overall result is quite good and the transition is smooth, without any extra editing. How to reduce these mistakes will be discussed in the next part of the guide.

Figure 1-22 Prolems in the transition

Now that the two pictures are on the correct position, change the opacity back to 100%. Next, click on the layer of the first picture, then, while holding the ctrlkey, click on the layer of the second picture. With both layers selected, right click on either of them and then select merge layers in the menu. The two pictures will now act as one and will stay together.

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Figure 1-23 Merging the layers

1.2.5.2

Method 2: cutting and pasting

In some cases, moving the pictures over each other will give a bad result. In these cases, it might be better to cut of the common parts of the pictures and then simply move them next to each other. This usually gives a bad transition, so there will be some extra editing necessary to make it smoother. In the example, there are some issues on the right side of the façade. The roof structure looks better on the middle picture, but the lower part of the façade looks better on the right picture. There is also a beam on the middle picture that is not visible on the right one. To get the best possible result, the bad parts were cut from both pictures and the best parts of both were used.

Figure 1-24 Using the best of each image

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Now simply move them over each other and will get a better result than when you would just move them over each other. Also, do not forget to merge the layers of both pictures again. In the example, the pictures of this façade are pasted together now. The façade is now one big picture, because all the layers were merged together (so all the photos are pasted together). However, as you can see below, there are still some color differences clearly visible in the picture and also some shapes are not flowing over in each other smoothly.

Figure 1-25 Transition problems

1.2.6

Smoothening the transition

The final part of pasting the pictures together is smoothening the transition of the pictures. For this step, the Clone Stamp Tool will be used most of the time. With this tool, you can select an area that you would like to copy somewhere else. Next, click in the position where you would like to copy this part to. From now on, the tool will always use the same distance between the copied part and the destination. The little cross indicates which area it is copying and the cross will move in the same path as the mouse. A useful tip for this part is to zoom in close to the picture, to be as accurate as possible. The best way to zoom in and out, is by pressing Ctrl and + to zoom in, cCtrl and – to zoom out. Another useful hotkey is pressing and holding the spacebar and holding the left mouse key to move the screen quickly. This will be helpful as you will have to move the screen around a lot when you are zoomed in.

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Figure 1-26 Usage of CST

By applying this technique, you can make the transition a lot smoother if it is necessary. On the picture below, we applied the clone tool several times on the transition zone and as you can see, it is a lot less visible and now it looks like the picture was actually taken as one picture, not three different ones pasted together.

Figure 1-27 Final result after smoothening

The picture below is a zoomed in example. Here you can clearly see the image we used the clone tool on is much better, but you can see that it’s not perfect. It is not always possible to get a perfect image, especially when the structure is complex. This should not be a problem however, because you will not notice when zoomed out. This can be a time-consuming process for the first time, because you will always have to look for a good source for the clone, you will have to get to know the function, etc. We will use the clone tool again later in this guide.

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Figure 1-28 Before and after using the CST

1.2.7

Cleaning up the pictures

The next steps will show how to effectively clean up the pictures and fix the contrast between the pictures. Basically it comes down to making the separate pictures look like one big picture without any objects blocking it. There are several methods that can be used to clean up. The most commonly used will be discussed.

1.2.7.1

Contrast

In this guide, we will first fix the contrast difference between the parts. We chose to do this first, because it can save time later in the process. This is because it is not always possible to fix the contrast to an acceptable result with the functions discussed in this guide. Therefore, it is recommended to fix the contrast differences first (especially if some pictures have been taken on different days). In the picture below, some of the photographs were taken on a different day. You can clearly see the difference in colors on the wall. And this will be pretty hard to fix, because the colors vary from almost white to brownish.

Figure 1-29 Frami P east with some contrast issues

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Brightness/Contrast Tool For the parts where the contrast is not too hard, there is a handy tool that can be used. This tool will usually be sufficient to fix the contrast and even has a suggestion (which usually doesn’t work correctly).

Figure 1-30 Contrast Tool

When you open the tool, a screen will pop up. By sliding the arrow, it is possible to in- or decrease the brightness and contrast. You can also toggle on the ‘Preview’ checkmark, by doing so you will see the effect instantly on the image. By pressing auto, the program will automatically select amounts for the brightness and contrast corrections, but this will usually not give the effect you’re looking for.

Figure 1-31 Brightness/Contrast Editor

A better way to open the tool is by accessing it from the right side tab. If you use it this way, you will create a new layer for the adjustment. This is better, in case afterwards you want to undo the adjustment and you can also see the difference by turning the layer of and on. Opening it this way, it will open the menu also in the right tab.

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Figure 1-32 Brightness/Contrast Tool while creating a new layer

Below you can see a before and after picture on which we used the tool. You can clearly see the improvement and the result is acceptable. However this will not always be possible with this tool. In that case, try the next step.

Figure 1-33 Before and after using Contrast Tool

Levels Tool Another tool that can be used to alter the brightness/contrast of a picture is the Levels Tool. It can be found in the same menu as the Brightness/Contrast Tool or by pressing Ctrl+L. It is advised to first try using the Contrast Tool, as it is a bit easier to work with. If that tool does not give the desired effect, try the Levels Tool. With the Levels Tool, it is possible to increase/decrease the influence of black colors, the midtones and white colors on the picture. Hence it is possible to alter the contrast/brightness at a finer rate.

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Figure 1-34 Levels Tool

For this tool, there is also a way to use it so it creates a new layer. It is found in the same tab as where you find this for the Contrast Tool. It has the same advantages to use it in this way as for the Contrast/Brightness Tool.

Figure 1-35 Levels Tool while creating a new layer

The left slider is used and moved to the right the darkness of the image will increase. If we move the right slider (for the highlights) to the left, the image will get overexposed and too bright. The middle slider is used to alter the midtones. If the slider is moved to the right, the overall darkness of the picture will increase. If moved to the left, the overall brightness of the picture will increase. This tool also involves some trial and error. There is also an auto function which will give a suggestion for the picture.

Curves Tool The Curves Tool has the same effect as the Levels Tool, but works in a different manner. In this tool you will also alter the effect of the dark colors, the midtones and the highlights. Here you will not change them with the slider, but by moving them in a graph. The curves can be accessed in the same menu as the levels, or by pressing Ctrl+M. For this tool, there is also a shortcut in the right tab, where it will also create a new layer if you use it this way.

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Figure 1-36 Curves Tool while creating a new layer

To use this tool, you can grab a point of the graphic and slide it in any direction to create an effect. On the axis of the graph, you will see that the origin is the black colors and the further you go on the axis, the lighter the colors get. So basically, if you alter the line in the center of the image, you will change the midtones. By moving the curve around, you can change the contrast and brightness of the image. For every change you apply on the curve, there will appear a dot in the graph. You can undo your last change by pressing the arrow.

Figure 1-37 Example of manipulated curve

Replacement All the tools you can find in the adjustments tab on the right side can be used to change the colors in the picture. Only the most commonly used have been dealt with in this guide, but there are surely other options. However, that will take some more knowledge of the software and can get a bit complex. If none of the tools that are discussed in this guide helped, there is another way that can be used to deal with the contrast in the picture. This technique is to just replace the bad colored wall by one that has the correct color. If it is obvious from the beginning that the color difference is too great to fix it with the contrast tools, it

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might be wise to just start with this technique. This technique can take up more time to use, but the results will usually be very good.

Figure 1-38 Frami P east contrast

In this picture, it will be really difficult to fix the contrast by using the tools mentioned before in the guide. In this case, it will be a lot easier to copy a good part of the wall on to the bad part. The part with the metal frame can still be fixed with the contrast tools, because the color difference is harder to notice. However, for the wall it is a better option to copy a good part of the wall and paste it on the bad part. The method will be explained with an example of this façade. Below you see a part of the picture on which we will use it.

Figure 1-39 Contrast before

First, select a good part of the wall with the RMT. This is the part that you will copy over the bad picture.

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Figure 1-40 Selecting a source to copy

After selecting the part of the picture that you want, select the MT. To copy, hold the Alt-key when you click and hold in the selected area. Hold the left mouse button and Alt-key while moving it to the destination.

Figure 1-41 Copying the source over the bad image

After moving it in the correct position, the transition will usually not be very smooth. We can make it smoother, by using the CST. You can activate this tool in the left hand bar or by pressing S. Sometimes it wil be important to change the size of the circle or if it should fade a bit. You can do that on the left top of the screen and expanding the menu. There are a lot of choices here. Usually, it is sufficient to just use the circle that is selected in the picture below. You can make the size smaller for precise work in corners and transitions of materials.

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Figure 1-42 CST to smooth the transition

Below you can see how the CST works. First you select an area that you wish to copy, by holding the Alt-key while clicking. In the example below, the top edge of the wall was selected as starting point (the green x). We then started to copy it on the green arrow and moved the mouse down. The source of the clone will move down accordingly with the mouse. In the picture, the mouse is almost at the bottom of the transition already, and the source of the clone as well (red x).

Figure 1-43 Usage of CST

After working the transition away, we also have to copy the small part. We could also just use the CST, because it could be more work to copy a part again on the right size. Below you can see the improvement in the color before and after.

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Figure 1-44 Before and after

You can use either of the methods explained to work away the contrast differences in all the pictures. After working all of the contrast away and smoothening the transitions, the picture already looks a lot better. Only a few more steps are necessary to finish the picture for the UVW-unwrapping.

1.2.7.2

Removing of unnecessary objects

It will often occur that there are objects like trees, cars, lantern poles, etc. are blocking parts of the building. This is something that shouldn’t be on the model, so it is necessary to remove them of the pictures. The most conventional tools for this have already been discussed in the guide. The most used will be the CST and RMT. In some cases, it can be useful to use the Dodge or Burn Tool.

Clone Stamp Tool In the picture below, the two lantern poles are preventing a completely object free picture of this part. The pictures could have been taken from an oblique angle. However this would result in much more work since the lanterns can easily be removed. Another unnecessary element in this picture is the lighting inside the building. Because the angle of the lamps is dependent on the location of the camera, it will give a confusing view. In reality, they are all perpendicular on the wall. On the pictures, they are all positioned in an angle. This creates a disturbance in the image, so they have to be removed. In this case, it is the easiest to use the CST.

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Figure 1-45 Unnecessary objects

To get remove the lanterns, select the CST or press S. Now, a good source is needed that can be copied over the lantern. You can see on the picture that behind the lantern there is a vertical metal structure. You will then use the red selected area (where the mouse is) as our first point. To select the source, hold the Alt-key while clicking in the exact spot to set the source for the clone. When you have this set move your mouse to the green zone and hold it so that it fits on the structure that is visible behind the lantern. Click here to paste the source over this. Now if you will hold the mouse button and go up, the source will move up accordingly and will copy that part. After that go all the way down and the whole structure will be copied over it.

Figure 1-46 Usage of CST

Apply this technique also for the other lantern and the small black pole. After doing that you will get the following result. It is also possible to use the RMT for

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this, but it can be less accurate and is better used on façades without too much detail in them. The RMT can be used in a similar way as explained earlier in the guide.

Figure 1-47 Image after removing lanterns and pole

Healing Brush Tool Sometimes it is better to keep the same source all the time that you want to paste over something. In this case, the HBT is far more convenient then the CST. The HBT will always use the selected source and then move from there, as long as you hold the left mouse button. If the left mouse button is released, it will start from the source again when used again. In the example, it can be used to remove the lights that are inside the building. By using this tool, you will not constantly have to select a new source, but can do it with just a couple of sources. To start this method, select the HBT in the left toolbar or press J. Now a source has to be selected from which the copying will start. Once a suitable source is found that can be used multiple times, hold the Alt-key and then press the left mouse button to select it.

Figure 1-48 Selecting a source for HBT

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After selecting the source, it can be copied over a lot of the lamps by always starting from a similar starting point (in this case the crossing between vertical and horizontal metal structure). Left click in the starting point and then clear the lights away by holding the mouse button. If you release the mouse button, the copying will stop. You can clear all the lamps individually by using just a couple of sources.

Figure 1-49 Applying HBT

After removing all of them, this will be the result. The picture looks a lot better now and the lamps are not as disturbing.

Figure 1-50 Result after removing unnecessary elements

Dodge and Burn Tool These tools will not be used that often, but can come in handy in some situations. The Dodge Tool is used to make the color lighter and the Burn Tool

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to make it darker. The dodge tool can be used to remove a shadow (from a tree for example) or even to fix the contrast. The Burn Tool can be used when a part of the façade is over-exposed. These tools can be accessed in the left toolbar or by pressing the O-key. To use the tools, click and hold the left mouse button and drag the mouse over the area that you want to make lighter/darker. The longer you hold the mouse on the same spot, the lighter/darker it will become (so this is not a very exact tool).

Figure 1-51 Dodge and Burn Tool

After removing all the unnecessary elements of the picture, the façade should be ready. After all the façades are ready, there is one more step to complete before putting the pictures of the façades together in one collage map.

1.2.8

Finishing

The finishing of the façades is mainly cutting out the pictures so that we only the façade itself in it. It is also important to extend the bottom of the picture a bit. This is necessary so that there is some extra margin in case the dimensions of the model are a bit different from the reality. If we would not add the extra space, it would be possible that the picture would stretch. Now, the bottom area will just be a bit larger instead of stretched.

1.2.8.1

Extending the bottom

The main tools used for this are RMT and copying, CST and the HBT. These tools have been explained before in the guide and will have to be used in a similar fashion. For smooth surfaces, it is easier to use RMT and copy it, in more difficult situations the CST or HBT are advised.

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Figure 1-52 Extending the bottom

1.2.8.2

Cutting out the image

The next step is cutting out the essential part of the image. With the RMT, it is possible to select the part that you want to cut off and then just hit the Del-key. The best option is to cut off all the excess on the four sides (left, right, top, bottom) of the façade so that a perfect quadrangle is obtained. After this, something as in the picture below should be the result. Now the façade is ready to be put in the texture collage.

Figure 1-53 Cutting off the excess

1.2.9

Exceptional cases

For most buildings it is possible to just make the pictures for the façades and put them on the model. However, some buildings do not have perfectly smooth façades and have some protrusions. Some buildings have open structures and if pictures would just be pasted on them, it would give a strange view and would not match the reality. In these cases, it is necessary to split up the façades in different parts and make different pictures for all the parts. In this guide, an example of a circular open structure of a parking garage will be discussed.

Figure 1-54 Circular structure

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Before making these pictures, it is important to know what your 3d model looks like. It is advised to make the model first, so you know of which parts you will need pictures. In the model for this building, the circular structure has been drawn more detailed than usual, because of the open structure.

Figure 1-55 Model of the open structure

Here you can see that we will need pictures of the columns, the roof, the sides of the roof, etc. It comes down to that pictures are needed for all visible parts. You can make these small parts by cutting them out of the pictures you take of the building. It is possible to use the same picture multiple times for parts of the building that all look the same. For example, for all four sides of the columns, it is possible to use the same picture for all four sides. Later the right pictures will have to be put on the right parts of the model in 3ds max. To get the individual pictures, apply the tactics learned earlier in the guide. The pictures will have to get straightened out with the Transform and Warp Tool. Try to get them as straight as possible, because the pictures will be pasted on a smooth façade, not a circular one. Cut the parts that are needed out of the picture with the RMT. Once all the parts have been made, it should look like in the picture below.

Figure 1-56 Collage circular part

These are all the pictures that we need to paste on the circular part of the model. An additional picture for the letters “Frami P” is also possible, although this can be a difficult task to make the letters perfectly straight (because they are attached to a curved background). It is also possible to add them later in 3ds max, which is a far easier method and will also be a good solution.

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1.2.10

Creating missing parts

In some cases, there will be parts of the building that cannot be photographed properly. When this happens, it is sometimes necessary to create the missing part of the façade yourself. This is possible by copying parts of the façade that look the same onto the missing part. For this the CST, HBT and RMT will mainly be used again. How to work with these tools has already been explained before in the guide. In the picture below, it is impossible to take a clear picture of the entire façade, because a part is blocked by another structure. In this case, a green and an orange balcony will have to be added below the red one. These can copied of one of the other facades with the RMT. The brown metal structure should also be visible below the roof, so it should also be expanded a bit lower with the CST for example. The grey part on the left can easily be copied from the rest of the part.

Figure 1-57 Façade that is partly blocked by object

After some trial-and-error, you will eventually be able to make a complete image of how it looks in reality. In this case, the final result looks like the image below.

Figure 1-58 Created façade

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Another example for this is again with the circular part of the parking garage. The wall behind the circular part is visible because of the open structure, but it is way too complicated to photograph it. For this reason, it is better to take a part of the wall and just create the ‘invisible’ part by copying the wall several times.

Figure 1-59 Used images to create the façade

To create this entire façade, parts of the left façade are copied till the real length of the façade is reached. Afterwards, the right picture is pasted on it and fitted, so the façade is complete.

Figure 1-60 created façade

1.3

Resizing the images and making the collage

After finishing the pictures of all the façades, the roof and the exceptional cases, so basically all the visible parts of the building, it is time to put them all together in one big collage. The pictures in this collage file will be used in 3ds max to paste on the façades of the model. To make this collage, we will create a new file. Press Ctrl+N to create a new file. Make the picture 2048x2048 pixels. It is important to not go over this value or it cannot be used in 3ds max. If you want to use a smaller image, it is advised to always take a power of two for the

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amount of pixels per side. In the example, the settings shown below were used for the collage.

Figure 1-61 Collage image

Next, open all the images of the façades, roof and any other pictures that are needed for the model. You will have to paste them all in the collage. It is important that you use all the available space in the collage map, so that the maximum quality of the pictures is maintained. For this reason, it is advised to first think about how you will use the space in the collage. Drawing a version can be helpful or just trying it out with the pictures, by first putting them all in the map and then puzzle around a bit. Try to make the pictures wi th a lot of detail as big as possible, pictures that need less detail (like the roof) can be smaller in the collage as the quality of these is less important (the bigger the picture the better the quality). When trying to move a picture in the collage, you will notice that the pictures are way too big to fit in the collage. The pictures will have to be resized to a smaller format so that they will fit. The pictures can be resized by pressing Ctrl+A (or use the RMT if you have multiple pictures in the file) to select the entire picture and then Ctrl+T to enter the Free Transform mode. You can resize the image by clicking with the left mouse button on one of the corners and dragging the mouse while holding the mouse button. Try not to scale it too small, because if you will make the image bigger after downscaling it, there will be a loss of quality. You can see the size of the image in cm in the square next to the mouse cursor when scaling it.

Figure 1-62 Resizing the images

After scaling it to the correct size, the picture is ready to be moved in the collage. You can select the picture with the RMT and then move it with the MT (while it is still selected or if you are working in its layer). Drag it to the collage

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tab and then drop it there in the correct position. Repeat this process for all the pictures that are needed in the collage and place them in the position you chose for them beforehand. Make sure to use as much of the given space as possible. Also, make sure to keep the original pictures unchanged. These pictures will always have the original quality.

Figure 1-63 Moving the images with the MT

When you have finished moving the pictures in the collage and in their position, the collage should look similar like the one below. The façades that need a lot of detail take up most of the image, the less detailed parts such as the concrete walls or floors take up a smaller space.

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Figure 1-64 Photo collage 1

Here is another example of what a collage should look like.

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Figure 1-65 Photo collage 2

1.4

Finishing

Now that the collage is ready, this file can be used to model the 3D model of the building. A final step is necessary before it can be used for the UVW-unwrapping in 3ds max. This step is to make a JPEG-file from the .psd-file. To do this, go to file on the left top of the screen and click on Save for Web… or press Alt+Shift+Ctrl+S.

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Figure 1-66 Save to web

A screen will pop up in which you can change some settings. In this menu the quality of the JPEG can be chosen and more stuff concerning the converting. Fill in the settings as in the screen below. The resolution can be different if a smaller resolution has been used. Make sure to select JPEG on the top right menu to get in the right screen.

Figure 1-67 Settings to create JPEG-image

When all the settings are correct, click on Save… . Choose a name for the JPEGimage, but normally the name of the collage should be the name you will use. After saving, the collage is entirely ready for the 3d model! The next part of the

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process will be explained in the guide about 3d modelling and UVW-unwrapping in 3ds max.

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2

PART II: MODELING IN AUTODESK 3DS MAX

This guide is written for users of the software Autodesk 3ds Max 2014. In this guide examples are used to make the modeling process more clear. These examples come from the process where the Frami F building was modeled. Frami F is a building of the School of Business and Culture of the Seinäjoki University of applied sciences in Seinäjoki, Finland.

2.1

Preparing Autodesk 3ds Max

First of all, open Autodesk 3ds Max to design the model you want to UVW Unwrap.

Figure 2-1 Autodesk 3ds max start screen

It is preferable to work in 4 viewports with one top view, one right or left view, one front or back view and one in orthographic view. With these 4 viewports a more clear view on the design in general is created. If this is not the original case go to Views → Viewport configuration… → Layout → Change the layout to 4 viewports → Apply.

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→ Figure 2-2 Selecting displayed viewports

The use of Snap Toggle is recommended while working with Autodesk 3ds Max. Autodesk 3ds Max is a 3D workspace. It is difficult to work in a 3D space with a 2D computer screen. This way mistakes in depth are easily made. Snap Toggle automatically recommends points of a model so errors in depth are no longer possible.

Figure 2-3 Snap toggle + options

The settings can be adjusted by right clicking on the Snap Toggle button. The options Perpendicular and Vertex are recommended in the Snaps tab.

Figure 2-4 Snap options menu

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2.2

Designing in Autodesk 3ds Max

Now the designing in Autodesk 3ds Max can begin. Click on the Create button → Standard Primitives → Box. Make the base of the box by holding down the right mouse button (RMB). When releasing the RMB the height of the box can be created by moving the cursor up and down. Click on the RMB when the height is right. Now a box is created.

→

→

Figure 2-5 Creating a box

You can change the properties of the box in the Parameters tab.

Figure 2-6 Box parameters

A building is more complicated than just a regular box. So multiple sides and corners have to be created. To adjust the object that is created go to Edit Poly by clicking on Modify → Modifier List → Edit Poly. In the Edit Poly there is the choice for vertex, edge, border, polygon and element. By selecting Vertex a point of the model can be manipulated. By selecting edge a borderline of the model can be manipulated. By selecting

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Polygon a plane of the model can be manipulated. By selecting Element the object can be manipulated.

Figure 2-7 Editable Poly modification list

To create another corner in the box Click on Edge. Hold Ctrl and click on two opposite edges in a plane. By clicking on Connect a new edge is created between the midpoints of the two selected ones.

→ Figure 2-8 Creating new edges

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Move this edge to the place where the corner has to be. Click on the Select and Move button

Figure 2-9 Move Tool

The edge can be moved over the X-axis, Y-axis or Z-axis by right clicking on Snapps Toggle → Options → Enable Axis Constraints

→ Figure 2-10 Display axis's

This way the edge, vertex or polygon can be moved in any preferred direction. X-axis :

→ Figure 2-11 Moving over X-axis

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Y-axis :

→ Figure 2-12 Moving over Y-axis

Z-axis :

→ Figure 2-13 Moving over Z-axis

To let a polygon coming out of the building use Extrude. Click on polygon in the Edit Poly in the Modifier list in the Modify tabblad → click on the polygon that has to be extruded → click on extrude in the Edit Polygons tab.

→ Figure 2-14 Extruding a polygon

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→ Figure 2-15 Extruding a polygon

To change how far the polygon has to be extruded click on the Settings button next to the Extrude button in the Edit Polygons tab. Now adjustments can be made for how far the polygon has to be extruded.

Figure 2-16 Parameters extrusion

With making more edges and extruding polygons you can create any type of rectangular building.

Figure 2-17 Example model

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But now the building has too many vertices and polygons which makes the design complex and the file big. The amount of vertices has to be reduced to the minimum and so the amount of polygons will be reduced as well. First connect the vertices that can put together on the same spot. This can be done the same as moving the edges by using the Move tool and move the vertex over the Xaxis, Y-axis and Z-axis.

→

→

→

→

Figure 2-18 Getting rid of the excess of vertices

Select the vertex point by holding LMB and make a small rectangular around it. Notice multiple vertices are selected on the same spot.

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Figure 2-19 Vertices selected

To make just one vertex out of it click on Weld in the Edit Vertices tab.

→ Figure 2-20 Welding vertices

It is easier to go in Wireframe mode to check if there are any useless vertices.

Figure 2-21 Wireframe mode

Not only reducing vertices makes the UVW Unwrapping easier. Sometimes there are multiple polygons which can be combined to one big polygon. One big polygon is easier to work with during the UVW unwrapping. This way one big

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picture is needed instead of multiple smaller ones. Creating as less as polygons possible also makes the file smaller.

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2 3

Figure 2-22 Reducing the amount of polygons

To create one polygon out of multiple ones click on Polygon in the Modifier List in the Modify tabblad → Click on the Create button in the Edit Geometry tab.

→ Figure 2-23 Create a new polygon in a plane

The vertices of the model are shown. This way you can select the vertices of the polygon that will be created.

Figure 2-24 Points for the new polygon

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→ Figure 2-25 New polygon

Delete the smaller polygons so that just the big one remains.

Figure 2-26 result after deleting

Create a polygon by selecting the vertices in a counter clockwise order. This way the front of the polygon is towards the outside of the building. During the UVW unwrapping the texture map will be shown onto the front of a polygon. Check if all the polygons are pointing towards the outside by clicking on the render production button. This renders the view of the active viewport. Make multiple renders from different angles to check if the whole model is correct.

Figure 2-27 Render the model

In the render the polygons pointed in the wrong direction are dark.

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Figure 2-28 Error in render

If the front is on the wrong side the polygon has to be flipped. Click on Element in the Editable Poly tab of the Modifier List in the Modify tab. Select the element that has to be flipped. Click on the Flip button in the Edit Elements tab to change the front.

→ Figure 2-29 Selecting the element that has to be flipped

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→ Figure 2-30 Flipping the element

To simplify the model. Weld all the multiple vertices in one spot together. Make one polygon out of multiple polygons.

Figure 2-31 Model

Check the amount of vertices and polygons by pressing CTRL+A.

Figure 2-32 Checking amount of vertices

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Figure 2-33 Checking amount of polygons

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3

PART III: UVW UNWRAPPING IN AUTODESK 3DS MAX

UVW unwrapping is a technique to place 2D pictures onto a 3D model. There are 2 basic ways of UVW unwrapping. There is the unwrapping of a 3D model to fit an existing bitmap. And there is the unwrapping of a model first and save the UV coordinates layout. Then export it to a Photoshop application to create a new bitmap. Which way of UVW unwrapping will be used depends on the project. In this case the 3D model will be unwrapped to fit an existing bitmap.

3.1

Connecting bitmap to material

Open the model that has to be unwrapped in Autodesk 3ds Max.

Figure 3-1 Model ready for UVW-unwrapping

Press Alt+W in the active viewport to create one big viewport. This creates a more clear view on the model.

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Figure 3-2 Bigger Viewport

Click on the Material Editor button to connect the texture map to the material.

Figure 3-3 Material editor

Go in to the Slate Material Mode if this is not yet the standard.

Figure 3-4 Slate Material Mode

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Select the texture map by clicking on Bitmap and get it from the folder where the texture map is saved. Connect the Bitmap to the Diffuse Color option of the Material.

→ Figure 3-5 Selecting a Texture Map

→ Figure 3-6 Connecting the Bitmap

To UVW unwrap the model select Unwrap UVW in the Modifier List of the Modify tab. Click on Open UV Editor.

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→

→

Figure 3-7 Opening the UVW-editor

Click on Pick Texture in the CheckerPattern list and select the texture map by selecting Bitmap.

→

→ Figure 3-8 Opening collage

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The texture map replaces the checker pattern.

Figure 3-9 Texture map in UVW-editor

3.2

Fitting object to the bitmap

The object is projected onto the texture map. But this projection is unclear and too difficult to work with. Simplify this projection by changing the mapping settings. Change this by selecting all the polygons of the object. Click on Polygon in the Modifier List of the Modify tab → Press CTRL+A to select all the polygons of the object.

→ Figure 3-10 Polygons in UVW-editor

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To have the polygons projected clearly in the UVW editor. Click on Mapping → Flatten Mapping… → OK.

→ Figure 3-11 Flatten Mapping

All the polygons of the object are now clearly divided over the texture map.

Figure 3-12 Updated UVW-editor

The goal is to place all the polygons on their right place in the texture map. First drag all the polygons out of the texture map. This way you have a clear view on where and how to drag all the polygons back on their place in the texture map. Hold LMB to drag the selection out of the texture map.

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Figure 3-13 Moving the polygons out of the editor

Select the polygons one by one and put them back in place.

→ Figure 3-14 Moving the polygons individually

There are different tools available to place the polygons on their right place.

Figure 3-15 Move Tool

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- Move Selected Subobject: To move the polygon - Rotate Selected Subobjects: To rotate the polygon - Scale Selected Subobjects. To scale the polygon - Freeform Mode: To move, rotate and scale the polygon - Mirror Vertically Selected Subobjects: To mirror the polygon

Break: To split up the polygons which are stuck together Figure 3-16 Breaking polygons

Rotate the polygon in a ninety degree angle Figure 3-17 Rotating polygons

Vertex, Edge or Polygon: To select which piece of the UVW map has to be adjusted Figure 3-18 Vertices, Edges or Polygon

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Figure 3-19 Editor after placing polygons on right positions

If all the texture map fits on the object material the result is shown in the active viewport. Check if all the picture are in the right place.

Figure 3-20 Model with pictures on it

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Render the model to see the final result of the model.

Figure 3-21 Render the model

Figure 3-22 Rendered model