This week I continue mapping the SBD-5 Dauntless skin panels onto my model. After tracing the outer wing sections, described in the previous post, I traced the center wing section (Figure 65‑1):
As you can see in the picture, I also traced the contours of the wheel bay on the wing surfaces. (These openings disappear, when you enter mesh edit mode, because they are dynamically created by Boolean modifiers. Thus such contours will be useful during further work, because in this way you can see these edges while editing the mesh).
I always start drawing the image of the aircraft skin by tracing the lines of the main panel seams. They will form a kind of reference “grid”, which later I will fill with other details: rivet seams, inspection doors, etc.
I will draw all these technical details in Inkscape, because it is much easier to modify such shapes in this vector-based program than in GIMP, which is mainly intended for the raster images. What’s more, I can export this scalable vector graphic from Inkscape to a raster image of any resolution.
Initially I prepared in Inkscape an empty drawing, set up its layer structure, and placed the appropriate links to reference drawings on the UV and Reference layers (Figure 64‑1):
I duplicated here the basic structure for the detailed bump map, which I worked out during my P-40B project. It is explained in all details in the “Virtual Airplane” guide (chapters 3 and 4 in Vol III, or chapters 6 and 7 in the complete edition). In this case I just used the hierarchical layers feature for grouping the related layers (in Panels, Fabric) together. (This feature was introduced in the latest Inkscape 0.9x, while the guide was written earlier, using older versions of this software).
The progress of my work in this month will be relatively slow, because I still have some additional activities linked to my “daily” job. Nevertheless, it is going on.
The original texture map (UV map) finished in the previous post (Figure 63‑1) is appropriate for the color textures (camouflage, national insignia and other markings). In this mapping various parts of the airplane overlap each other, so the pattern of the test image remains continuous:
While such an arrangement makes the camouflage painting easier, it would be impossible to use such a map with overlapping elements for another important texture: the image of the aircraft skin details. In this post I will shortly describe, how I prepared an alternate UV map for this purpose.