Now before I can start to make a cage for my barrier and barrel which is required for texturing in substance painter, I needed to sort out my UV layouts. The UV layouts help with the baking and texturing within Substance painter 2. This process is straightforward and doesn’t take too long. However, depending on your object and the shape, it can be difficult to know which face belongs on which part and side, especially if you use Z-brush of which I have learnt.

To start, I had to open my objects up in UV editor to see what the objects was currently like. As seen, it has not been edited at all and needed work done before going into Substance painter 2.


Now, this process has a few buttons and commands in a certain order that has to be done in this process. I have taken screenshots to visual show this process as it is easier than explaining it in my own opinion.

But to also write about it, what I first did was press the automatic button on the UV editor to automatically adjust the objects into the basic faces of the objects like the front, back and side etc… After that, I pressed planar which allows me to take the chosen faces I have selected from the object, and form a new face (my own face and not the one the computer made as you can’t count on the computer as I made the shape and I know what’s correct and wrong. This is the case for the barrier). After that, I needed to adjust some of the settings of the objects on the right-hand side of the screen. Apparently, a rule for the rotation is to set it to the closets 0,90, 180 etc… And then change the projection width and height to a decent number where the face is at a reasonable size and keep that size/ number for the width and all other faces. Then unfold the object at its orientation and done. Repeat for the rest of the sides.

Lastly, once all piece is done, compact the sides into the top right box but don’t resize them or let them overlap, only resize them together and make it fit it nicely and tidy. This will help when it comes to texturing in Substance Painter 2.

Barrel                                                 Barrier



Task_3_Jersey_Barrier_Quad Drawing/Warping_Decimated Mesh

With my decimated mesh from Z-Brush now in Maya, i was then taught how to make a LP (Low Polly) model version of the Z brush model which I would then use for baking the model in Substance Painter 2 along with the decimated mesh (High Polly Model) and a cage duplicate of the LP model mesh. But to start with, I need to Quad Warp/Draw my decimated mesh of the Barrier.


The reason I was told why we always create an LP version of our models is because usually, our original smoothed models have a high amount of triangles which would make it look high quality but too much for the engine to handle in the game. This is why we make an LP version of the model and use that instead of the HP so that it will run better in the engine. That’s where baking and the cage comes into play which comes later after the Quad Warp/Drawing. But back to the Quad Warp/Drawing for now.

Now from the experience, I got from this part of the process, I would say that I had an easier time Quad warp/drawing my model than some of my other fellow students which found it tough and challenging. I don’t know if it was because of our models and how we had detailed them differently or if it was just easier for me as I could predict where certain points were going to be and how the model was going to shape. I just know that I didn’t mind this part of the process unlike some other students.

Quad warp/drawing is actually pretty easy and straight forward when you think about it. All you’r doing is adding on points to you decimated mesh and linking 4 points together to create a face. Of course before hand, you need to magneties your cursor to you decimated mesh so that you points always snap on to the surface of the objects. While doing this, it’s important to keep the shape of the object so in certain areas of high detail, there are more faces than other places where there is a lack of detail. Also bends and dips have to be noted and new faces made when the shape bends to another angel like the near the bottom of the barrier where it gets wider. Once I had the entire barrier Quad warped/drew, I then also started to take away certain faces that were no longer necessary to the model, this would save space and lower the triangles of the barrier. I had to get the barrier under 3000 triangles and I managed to do it.

This slideshow requires JavaScript.

With it complete, I now had a LP and a HP model version of the Barrier. This is necessary for the baking process next which helps texture the model in Substance Painter 2. But before that, I needed to UV the layout of my Barrier which was my next task.