Especially for surfaces with a lot of contours and details like a human head or hands, you want enough points to ensure lining up the nasolabial folds on the face, or the wrinkles on the knuckles. Just like rotoscoping, there is a balance between an economy of vertices and the amount of detail you need. Your first pass is to get a nice distribution of the texture across the surface, and then you can begin to subdivide in order to get finer control points. You move them into a rough position on the model, and then you can snap the control points to the surface of the model - with the ability to further rotate the points so they match better to the normals of the surface. You can start with an initial planar projection (or the new cylindrical projection) with a minimum of control points.

Substance 3D Painter’s Warp Projection combines those into an intuitive workflow where you are manipulating the texture on the surface of the model. Part of that is because you are constantly going back and forth between the 3D model and its 2D unwrapped version. It’s time consuming and artist resource intensive. Setting up UVs is no fun, even for people who tell you setting up UVs is fun. But in the latest version, the release of the 3D Warp Projection is pretty phenomenal. Earlier in the year, there was a release that revamped the UI and workflow with even more emphasis on interconnectivity within the Substance tools as well as its new Adobe siblings. The latest edition of Adobe Substance 3D Painter has some pretty exciting new tools.

Substance 3d painter