Best way to approach UV texturing a room

I have a model of a room that will serve as a very small ‘map’ in an XNA game, but I’m puzzled as to the best way to approach texturing it. The model is, naturally, made up of mosty square polygons with a few angles here and there:

Image of my model

However, I’m not sure of the best way to about UV texturing a room/building. Doing a simple UV Unwrap, expectedly, generates nonsense, however, I didn’t have much better luck after drawing edges either. Is there an unwrap method or something in Blender that facilitates the UV texturing for something is ‘simple’ as a room? Thanks a lot in advance.

Hopefully you weren’t expecting a simple answer as texturing can be a complex area of 3D. I’d take a look at some tutorials. I’ve provided a simple tutorial for UV unwrapping from the Noob to pro wikibooks. That should get you started but for more advanced texturing, if that is what your looking for, look at the tutorial on vimeo in the links I’ve given you. The vimeo tutorial is for a texturing method called projection painting, it is a little more advanced, but once your good at it it is a really quick way to texture an object. I use it frequently but it is only necissary if the texture needs to be complex as in: you wanted to have parts of the wallpaper peeling off and showing a different texture representing the wood behind the wallpaper.

As a side note, a simple UV unwrap method that may work for you is to separate the walls of the room so that each wall is a separate object. (do this by selecting the faces of a wall in edit mode and pressing P). You can then set the view using the number keys 1,3, ctrl 1, ctrl 3, and press U, and select “project from view” from the options. This can help you texture each wall individually.

Hope this helps you.

The outside of a building but similar principles apply for interiors

A room consists of fairly simple geometry, but a great many textures may be applied to various parts of its surface, either by the attachment of different materials and textures or the combining of UV maps or otherwise. There is no “single cut-and-dry solution.”

A good guidance is that: you should consider each shot, that is to say each camera, separately. Most likely you are going to build up your show by first filming from different cameras, then editing the footage together later. For any given camera’s POV, some textures and materials will be extremely important; others will be mere background. So, although you may need to put in some temporary window-dressing images (just so you can more easily maintain visual continuity during previsualization), when it comes down to the actual set-building, you’re going to be doing that “per shot” anyhow.

As is the case with any real-world Hollywood set-building exercise, you’re going to be building in each case “exactly what you need for this shot and this camera, and no more.” Everything which is not in-frame “does not exist.” Props that hang on the wall or that lie upon the floor or that hang from the ceiling are all dealt with as separate objects, and re-used. What superficially appears to be a single problem is broken down into a group of somewhat simpler problems.