In the Material window, check the “Map Input” tab. Since I’m not sure exactly what you mean by “not moving,” I’ll give you some details.
“Orco” is the default setting – this will cause the material to be mapped to the object data. If you move all of the vertices, the material won’t change, but if you move some of the vertices, the material will seem to shift as a result.
“Object” will allow you to specify another object, like an empty, that will define the center of the texture. If you move, scale or rotate either object, the texture will slide around on the model.
“View” will “project” the texture onto your model as if the camera were a projector. This can be used to make it look like part of your model is transparent – when the model moves, the texture will “stay put,” as though you were looking into a rift, or a window into another dimension.
“UV” is more complicated, but is also the most likely candidate for what I think you want to do. Instead of the object data, UV will map the texture to the mesh data. So, for example, if you have a lips texture on your model’s lips, and you grab the corner of the mouth, the texture will stay on the mouth, no matter where you move those vertices.
This requires marking “seams” and “unwrapping” the model. Blender’s unwrapping and UV texturing tools are top-of-the-line, and there are tutorials all over the place (try a google search).
One of these should definitely be the solution you’re looking for.
I still don’t know what you mean… static in relation to what? The world, regardless of verts/faces? You want the Orco button.
Or in relation to the verts/faces themselves? Then you want UV mapping.
Or if it’s static in relation to something else (like the camera, or another object), you’ll need another mapping method. I could tell you which one exactly, but I’m not sure which one of these effects you’re talking about.
Sorry for the delay in getting back but xmas and stuff.
Anyway, Yes it is uv mapping I’m on about in a sense.
I just added a plane and subdivided it 4 times as a example. I unwrapped it then loaded my grass texture in. Now when I move the verts on the plane in edit veiwport or uv editor the texture follows the vert(s) that I am moving.
I don’t want the texture to follow the verts at all so if I make a face, I can use a plane to hold a reference image and edit the facial structure of the modeled face rather than make a new face from fresh, or I could make my face texture, load it in then move the verts to the flow of the cheek bones, eyes sockets, lips of the reference image without the texture moving which is what I want to ultimately achieve.
scrag_10 is absolutely right. What you describe is easiest with a background image, not a textured plane.
For textures in general though, I think there are a couple of problems with the way you’re thinking about it. Correct me if I’m wrong.
First of all, when you use UV mapping, the vertices in your mesh are basically stuck to parts of the image. You can see this in the UV editor; when you move the verts in the 3D view, the corresponding verts in the UV editor don’t move, and vice-versa. So this method is good for textures where “parts” of, say, a face, have to correspond to “parts” of your mesh.
Orco mapping, on the other hand, is a much simpler method. It puts the center of the texture on the center of the object’s global location. In English, that means moving the object in object mode won’t make a visible difference to the texture, whereas moving the vertices in edit mode will cause the mesh to slide or deform in relation to the texture.
Neither of these methods is ideal for a modeling reference, though. You should use a background image for that.
The other thing is that, based on what you describe, it sounds as if you had your image plane as part of your character object. When you add any new object, make sure you switch to Edit Mode first, with the Tab key. This will make the plane as part of a new object, and materials and textures for one will be independent of the other.
Thanks for mentioning it scrag but I do know about it. I’m trying to work in a different way for the moment. I will explain more when I answer TheGryphonRider.
We are on different wavelengths. I’ll give it one more try.
Heres my scenario.
I build a female/male model and texture it, uv map it and such. Now imagine I’ve finished it completely. Now instead of me making a whole new model using the background image to hold my reference image.
I just want to change the face. I load my new texture of a different face into uv editor replacing the existing one which is pretty much fully prepared.
As you know the texture isnt going to be correct in relation to verts/faces, so what I want to do now is tweak the verts on the model without the face texture moving so that I can adjust it to the new face structure.
The reason for setting up a plane was so that I could move the verts to match the reference but I got the thought into my head that if I could move the verts without moving the texture that I loaded then It may quicken the process of it all.
When I did a test with this way back, the plane was far from a perfect solution, and was a seperate object that could be moved around. I will give what Snifix said a go and hope I can get somewhere with it.
I have my doubts that this will work on a whole, But no harm in trying.
I get it now.
Yeah, you’re on the right track.
Basically, you’re going to need to adjust all of the vertices twice; first in the UV/Image Editor, to match up the parts of the face with the texture image; then in the 3D view, in Edit Mode, to actually change the 3D shape of the face.
The UV Editor gives you access to the model’s UV layout, which is basically a 2D version of the 3D mesh. When you move these vertices in the UV editor, it changes their relationship to the texture image without actually changing their 3D coordinates. This should be exactly what you need. :yes:
This video by devrooshows how to use the UV-Project modifier to adjust a model to match a texture. The example shown is a doorway with mostly flat faces. I do not know how well this would work for a human face with all its complex curves.