In previous post I have enhanced the bump map texture effect, using two different images. This is the continuation on this subject.
Have you ever noticed that the classic stressed skin of a real aircraft is not ideally smooth? It is more visible in the areas where the skin is thinner, especially on an old, “weary” aircraft (Figure 70‑1):
The wing on the left (Figure 70‑1a) belongs to a SBD-4 (BuNo 10518) from Yanks Air Museum in Chino. This wing was recovered separately from Guadalcanal (circa 1980), and restored a few years later. This aircraft is in flyable condition (registered as N4864J), but has not flown since its restoration.
The wing on the right (Figure 70‑1b) belongs to a SBD-5 (BuNo 28536) from Planes of Fame, also in Chino. This wing was also recovered from Guadalcanal, in the same time as for BuNo 10518. This aircraft was restored, registered as N670AM, and made its first flight in 1987. Since that time it has been flying during various air shows.
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).
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.
Because of the holiday break, during July and August I will report my progress every two weeks. I will return to weekly reporting in September.
I have just begun the third stage of this project: “painting” the model. At this moment I am unwrapping its meshes in the UV space . I will deliver you a full post about this process next Sunday. Today I will just signalize how it looks like.
So I started by creating a new reference picture. It had to have a rectangular shape. Inside I placed my drawings of the fuselage, wings, and the tailplane (Figure 60‑1):