UV Mapping
Laying out a model's surface for texturing: seams, texel density, packing, and the second UV set a lightmap needs.
UV work decides how a texture meets a mesh. The craft is placing seams where they hide, keeping texel density even across an asset and consistent with the rest of a project, packing shells without wasted space, and avoiding the overlaps that make a bake unusable. Mirroring and stacking are deliberate decisions, taken when memory is tighter than the need for unique detail.
Postings name Blender, Maya, 3ds Max or RizomUV for the layout and Substance Painter for what happens afterwards. Two requirements turn up more often than beginners expect: a clean second UV set for lightmaps, and UDIM layouts on assets that carry film-level detail.
Retopology prepares the geometry that gets unwrapped; texture and material work paints what the layout carries. This skill is the step between them, and bad work here shows up as stretching, seams and blurry patches that no amount of painting fixes.
Where these positions are: Munich (1 position)
UV Mapping experts (1)
Rami Hussein
3D Game Artist (Hard Surface Modeling, Texturing, Visualisation)
München, JuniorOpen positions for UV Mapping (1)
