1. #1
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    Default ZappLink: head texturing tutorial

    MainPic.jpg


    Chris Baker (atwooki) has taken the time to put together a nice tutorial on using ZAppLink during texturing. Enjoy!




    ZBrush: Preparation


    Step1.jpg

    1. Choose a ‘base’ color from the Color menu, and then create a new texture; Here I've gone for 2048 x 2048 using the Power of 2 plugin, which is the tool of choice for this operation.
    2. Import your mesh/ZTool, and if not previously UV'ed in another application, choose your UV preference between those offered under the Texture menu; in this case I've used AUVTiles, with an AVRatio of 1.
    3. Create a Morph Target and then divide the mesh to the necessary number of divisions. Go back down to level 1 and save your ZTool. Return to the highest level for texturing.


    ZAppLink:

    1. First off, set Tool>Display Properties>DSmooth to a value of higher than 0 so that the pickup from Projection Master can be faded (eliminating jagged edges).
    2. Next, ‘drop’ your mesh to the canvas with Projection Master (hit G on the keyboard), and as we're creating a color map here, check Colors and Fade ON and uncheck all others, as we're starting off with a frontal projection here.
    3. Locate the ZAppLink plugin (under the Document menu), and choose your method of layering in the external application you plan to use.
    I'm using the Unshaded + Color Adjustment layer option, as this provides an extra 'template' shaded image of the mesh on an additional layer above the layers I'll be editing later.

    This will act as a useful visual guide for accurately positioning any bitmap elements in the external app.


    External application:

    Step2.jpg

    1. Upon hitting OK from the ZAppLink window, you’re taken into your chosen external application, (in this case Photoshop) and presented with a flat, unshaded background layer with a gray shaded layer (the Zshading lay super-imposed immediately above it.(Do not attempt editing this shading layer!)
    2. Within Photoshop your texturing options are pretty limitless. Here I've imported a few photographic elements with the lasso tool into separate layers for positioning and general editing purposes on one side of the image, alternately switching the ZShading layer on and off in-between edits so as to analyze and further correct any decisions I've made. This layer is particularly useful for dealing with areas like the lips, nostrils, ears, and masking out the eye-socket area.
    3. I could use the many brushes within Photoshop to simulate the effect of skin pores more accurately here, but as I'm creating a frontal projection, I feel these kind of details are better dealt with inside of Zbrush utilising custom alphas and stencils later on. At the moment, roughing out the base coloring by switching quickly between the two applications using different projections with Projection Master is the intention.
    4. To finalize editing at this stage (assuming of course that your model is symmetrical!), merge the layers you've edited, duplicate the new layer, and then mirror the it: Edit --> Transform --> Flip Horizontal. Erase any superfluous color near the center and then merge this layer with the previous one below. Any final retouching can now be dealt with using the likes of the Healing Brush Tool or the Clone Stamp Tool. I prefer to save a copy of the unflattened WIP file to my hard disk for any further editing purposes that might be prove necessary later on.
    5. Save your file, and then go back to ZBrush - all nice and painless!


    ZBrush: Fine-tuning



    Step3.jpg

    1. If you like what you see on the still ‘dropped’ mesh, agree to the ZAppLink option box, and proceed to 'pick-up' your mesh.
    2. At this stage, you'll probably want to continue with profile, top, back and maybe bottom projections utilizing Projection Master, ZAppLink and your external application as previously outlined to fully cover your base texture with new edits.
    3. To finish off, make a quick UV Check from the Tools à Texture menu, and if necessary, use Fix Seam appropriately. Often you'll find using ApplyAdj is necessary to fine-tune your UV co-ordinate layout, and depending on the scale of your mesh, tweak the AdjU and AdjV sliders accordingly.
    Thumb.jpg

  2. #2
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    Thank you Chris!

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    Very nice!

    Thanks for taking the time to do this!

    Scott

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    Default Cool!

    Long Live Chris Baker (atwooki)!!

    EDIT:

    This tutorial is GIMP friendly!!! Thank you verry much, i would have never guessed to ust this with projection master... I this really is cool!
    Last edited by Polaris30; 10-25-05 at 04:05 PM.
    For Hire.

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    Very nice work, now can you do it on something a little more real. Can you tell me what is going on with the lower eyelid?? Cheers
    The attempt is more important than the outcome. E.Askue

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    Hey Atwookie, nice tut and I love that character.
    Jason Belec
    Kiss Your Sister Studios... YEAUCH

    Eternal Zsphere thread : 'Origins' begins... : Liquid Maya

    Jason can be reached at Cowboy Feng's Spacebar and Grill. If you know where it is, you are indeed privileged. It's your round.

    'Obey me! I am ROOT!'

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    Nice simple to follow tut, thank you ...


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    Default

    Great tutorial man. Thanks for sharing.

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    Most cool and helpful. Thanks!

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    yes, thanks a lot for sharing info, it will be usefull to understand how does ZappLink works

  11. #11
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    vlad74, Scott Spencer, Buckie, wierdPal & Moochie & Strannik:
    Cheers guys, appreciated!
    Polaris30:
    This tutorial is GIMP friendly!!!
    Hehe! How you doing buddy? Nice to know this great plugin is other app-friendly
    askue:
    Why?!
    Can you tell me what is going on with the lower eyelid?
    Sure; like most of this character, they're unfinished as yet
    Jason Belec: Thanks, Jason

    If using Mental Ray for Maya (as in the below image) be sure to turn off any filtering in
    the file texture node,) this render shows the textures are bearing up OK:
    (the eyeballs are created with the same technique, BTW)

    Chris
    Attached Thumbnails Attached Thumbnails Click image for larger version. 

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  12. #12
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    cool tutto video please


    I love ZBrush


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    Very nice and very useful Atwooki, thanks for taking the time to do this. I always learn something from seeing somelses workflow.

    Z-app link and Painter are my current poisons of choice.

    I have a Maya question though, it looks like you using one of the misss shaders. How do you have your texture map connected to the misss shader? When I use the misss_fast_skin, I always seem to blow out my texture map.

  14. #14
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    Genial aurick.

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    hypnotik:
    cool tutto video please
    Too late! Sorry... I'm working abroad tomorrow; no ZBrush activity, more's the pity ;( )
    I need a job please help me
    Don't we all, buddy - (at least doing something we enjoy!)
    Enigma:
    Very nice and very useful Atwooki,
    I have a Maya question though, it looks like you using one of the misss shaders. How do you have your texture map connected to the misss shader?
    When I use the misss_fast_skin, I always seem to blow out my texture map.

    I duplicate the original color map, put it in the 'Diffusion' tab, then lower the
    contrast and saturation (of the copy),
    dependent on the scale of the file, its
    photon energy/values per light, and the (yes, it there) an *.hdr.map in the
    IBL node, and perhaps drop the 'Diffussion strength'also.

    However; My 'base' shader here is a 'Mix8Layer', with the ZBrush color map
    in the top entry, followed by the 'Miss_fast_skin'(multiply)
    , and last of all a 'mib_Illum_blinn'(normal mode - approx: 24%) to help
    spread and lighten the effect of the SSS. Hard to describe - easy to see in
    the shader ntwk; but somehow outside of the realms of this thread....
    (If you let me know, I'll send you a .ma file tomorrow morning if you wish... but only up til 11.00 am (00: GMT)

    saltapiedras:
    Genial aurick.
    Yes

    Chris
    Last edited by Atwooki; 10-27-05 at 04:23 PM.


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