Loved the information on how you did it as well as the sample movie.
Really fantastic work! 
Hey Jeen, no problem for sidetracking the thread, I like the paintings of Paris, and Brian Froud’s work too.
Sorry you didn't like Chris Mar's work so much, his Statement puts what he's up to in perspective.
Maybe you'd like his drumming more [click here](http://www.twintone.com/video/mats)..heheh, third one down rocks...
(Remember though, that was 24 years ago, not as accepted then as it is today).:+1:? :-1:?
Whoops, way off the road now…okay, back on track!
Hi <b>Webhead</b>, Thanks alot, glad the overview was helpful, I'll try to get something fresher posted up by next week.
...and if you have any detailed technical questions I missed, just fire away... no problem.Hey Joe,
firstly I love your work. I really love all that twisted stuff on your site, particularly the animation, a very unique style.
Also thanks for all the stuff you’ve shared, its very helpful and shows a newbie like myself where Im going right and wrong. Only problem is the more you share the more people like me are going to ask questions…
I do have a Mayaish question but it does relate to Zbrush so I dont think Ill get lynched. I was wondering how you take you Zbrush AUVs and link them in the Hypershade in Maya? Mine always come out wrong projection or no projection.
Any suggestion would be appreciated
Cheers
Great job !!!
I Worked for WARNER BROS for about 8 years doing CHARACTER work.
I love it !!! And it is pieces like this that make me want to keep going forward.
Thank you for sharing this with the world.
CAS
Here is one of MINE:
Hi coye, thanks for posting. Glad you like the work.
After looking at some of your other posts, I see you have a bust going. Looking good!
Are you now changing to auv tiles?, seems you were having problems with cylindrical mapping.
If you haven’t already, for starting out with texturing in ZBrush, see the:
Answers to frequently asked ZBrush-related questions.
Second link down you’ll see How do I ASSIGN AUVTILES…explained there.
Also the F.A.Q. Forums, spend time pouring through those, many answers there.
You asked, …was wondering how you take your Zbrush AUVs and link them in the Hypershade in Maya?"
Well I don’t link AUVs in the hypershade, no need for that.
Make sure the model you import from Maya into Zbrush has all of its’ vertices merged.
That may be the root of your problem.
Try this in maya (I’m on 5.01, but it should be the same):
Select the Modeling menu, and have the Channel Box open (Display>UI Elements>Channel Box/Layer Editor)
Right-click over your model and select ‘Vertex’, then drag select arounnd the entire model, so that you capture/select all the vertices. Get 'em all.
Look up at the top of Channel Box, you should see ‘CVs(click to show)’ under the name of your model. Click those words.
Boom there’s all your vertices listed. Scroll down using the bar to get the total count.
Now go Edit Polygons>Merge Vertices>click the small box.
Change the distance to 0.0001
Keeping note of your total vertex count from before, go ahead and hit MergeVertex or Apply.
If the total count didn’t change, then your vertices were well merged, if the number amout dropped, you’ve fixed it, maybe…
You can try lower amounts on the distance too (0.001, 0.01, 0.1) just to be sure. Delete History on those nodes too.
Not sure if you built it this way, but I’m assuming you used the merge edge tool to weld the two halves together.
So if all that checks out okay, import your saved OBJ model to ZBrush, and follow the instructions above for creating your auvs…
Store a morf target before starting any sculpting in Zbrush, sculpt on the morf. Switch before exporting the model back out to maya.
You’ll need to flip Vertically any maps, sure you know that.
So you see the AUVs are stored with the model now, no need to link anything in the hypershade…(that I know of).
You said, “Mine always come out wrong projection or no projection.”
I’m not sure specifically what you mean by that, but Maya doesn’t do AUVtile Mapping, that’s unique to ZBrush.
In Maya, try a Two Pane Side by Side Layout, and have the uv texture editor in one, persp view in the other.
Select your model in persp view and you should see the AUV layout in the uv texture editor window. No? Lots of squares in a grid?
Maybe you’re confusing the ‘hypershade’ with the ‘uv texture editor’? I’ll stop here and get your feedback.
Feel free to throw an image in here if it can clarify your problem.
Hey CAS NYC, thanks man, I really like that dude, I saw him over on cgTalk the other day. Glad to see him here too!
…Yeah, keep going forward, no turning back! Thanks for posting
Hey Joe,
Thought you might find this announcement interesting.
Sven
(BTW, this thread continues to be quite good! 
)
Wow, thanks!
Really appreciate you spending time to steer me in the right direction. This is fantastic, very useful. Im sure others will get alot out of this as well.
Yep, mapping is a nightmare. Ive turned to AUVs as they just make sense and seem most accurate, I do however like being able to adjust textures in PS which is kind of hard to do with an AUV.
I fixed up the problem I had by reworking the entire texture and reapplying… not something I want to do again. Anyway, Ill post it soon and then try your tutorial out tomorrow (getting late here) although I havent been keeping morph targets so it may need to wait til my next character… which Ill probably start tomorrow anyway:)
Very good work. The very good shaped one, the expression is the better thing. Congratulation.
Joe - The links are great, thanks.
omg he looks so much like jerry seinfeld (some comedian) thats cool
Has anyone ever tried creating hair in another program like shave and haircut and then bringing that hairstyle into zBrush?
Hey sven,
Wow great link, must say I’m intrigued by the GeoVideo - RealTime Motion Capture Camera technology.
That video is excellent just for its’ reference alone. The wave of the future?
Tried to download the GeoUV-Texture Mapper but I’ll need maya 7.0.
Upgrade-time! Impressive technology coming out, thanks for the info Sven…
(and if we’ve learned anything here, it’s that ya just gotta be careful who you link to out there.)
hey again coye, yeah well hope that helps, just a merge-vertice check, the rest of the Zbrush workflow can be found by searching here on the forum.
Ivanperezayala…thanks Ivan, hey I enjoyed looking at your site, nice work there!
Blaine glad you liked the links, alot of great work out there in the world.
rtwolfenstein hey you’re the second person to mention Seinfield. I watch the reruns all the time, but it never occured to me. Maybe we’ll name him Jerry…(Nah!)
Greetings jBibble …seems like you’ve already gotten some great answers in your thread from Derlandvogt, Jason Belec, and Kircho.
I emailed jAlter about it and he warned that once converted, the poly count can get heavy in maya pretty quick. Yep, yep…
So I did a little test by converting the model’s shave hair to polys and imported the OBJ into Zbrush.
600,000 polys on this wig, kind of heavy for a hairdo don’tcha think?
Seems Bas Mazur has it going on for zbrush and photoshop hair… Hey Bas!
Nevertheless your question is a good one, because some other non-hair related things could come out of working with Shave and ZBrush together.
Hehehe, I did some tests with the fiberbrush and also with hair made from Zspheres. Making 3d hair in ZBrush (hair by hair) mostly gives unwanted black shadows because we work in pixols and not in real 3d. The light cannot shine behind a hair. Importing 3d hair gives the same problems. The best way I found was using a layer and render it without shadows. Another way is to make solid strings of hair and detail it after with an rgb brush.
Hey Joe. Greetings to you.
Thanks for testing the “Shave” import. Very interesting and insightful. What do you think of my new post?:
http://www.pixolator.com/zbc/showthread.php?p=240330#post240330
Did visit you wonderful webside, nice sculptures! What kind of meterial did you use? Cannot find a translation 
Hahaha, the butt-man. Why smashed the man eating his toes? Grrr, I am the same, burned all the paintings I made to clean memories.
It would be cool if zBrush had collision detection. Also if you could take a dot pattern, alpha skin it and mark each dot with the multi marker tool. You could kinda grow hair while maintaining control of the hairs. It would also be nice if you could pick more than one brush/tool to use at the same time. Then pick up each tool’s drawn objects. Does anybody know the extent of the multimarker’s capabilities in this area? With multiple tools that is?
I’m trying to keep it zBrush painterly but whatever external packages (meshpaint, shave, ornatrix) would still be informative.
Thanks.
Hello Bas and jBibble… everyone else reading along.
On the topic of hair:
Hair especially cg, can be difficult, but really worth exploring for all of its’ expressiveness.
Its’ seen as an outward statement in society, a symbol for how we want to be perceived…(or stereotyped).
Really good example of how important hair can be -Sebastian Kruger always considers it so well.
Oh man he has to be one of the best examples out there of seeing the head and hair as equally important. And in so many styles.
What do you check first when you look in the mirror? Your hair, your pores, or your lip cracks? heheh…
Never under estimate the power of a good head of hair. Shaved heads are cool too, but maybe just too many digital ones.
So jBibble, hope you can post some images of your hair explorations, maybe a ‘hair challenge’ too.
Oh yeah, are you planning to buy a hair plugin? Seems you’re a Mac Lightwaver, how about Sasquatch…
Regarding the sculptural work Bas…
Really not sure if it applies to the Zbrush focus here, but since you asked, I’ll oblige a little…
Yes for the material: Most of the work has been done with fired clay, not everything, and more recent works not at all…
Here’s an example of a clay piece when it was in progress, unfired at this point. (The hair is a wig, not clay)
If you’ve ever taken a pottery class, or watched someone throw on a wheel…
you’ve realised there are two sides of the clay wall being worked on the hollow form, often at the same time…
and that’s an important difference from working solid on an armature, a very significant difference in this case.
Just to back up a little, you start with the feet and build the hollow form upwards, like laying bricks,(or clayburgers).
and then when the clay wants to fall, you stop, cover the edge with plastic (as shown here at wrists), wait for the exposed clay to set.
So you’re creating a foundation onto which you’ll add more weight. Once set, unwrap the plastic, continue up from the fresh wet edge…
Only when it starts to fall or sag do you stop and wrap the edge…patience is a virtue. No interior steel or wood armature needed.
Now and then I’d use an exterior prop to hold the form in place while the clay sets to a leather hard state.
Bas you may ask,“But why Joe, why do it this way?”
Easier to sculpt (imho) when you can work from the inside as well as the outside.
Let’s you sculpt the internal ‘pushing out’ we all seem to have in common, and the push doesn’t destroy the exterior detail either.(!)
Easier also because no molds are needed, the fired clay is the finished piece. (Although molds can be taken of course at anytime).
Cheaper too, water based clay costs very little. Found objects, mixed media costs very little as well.
So it’s the analog version of zbrush et al, in that you’re basically sculpting a hollow form. Goes way back in time this process.
Eventually the negative aspects of this material, (fragility, heaviness on a large scale), made me search for other options…
Epoxy, a non toxic one. Lately I’ve been carving foam and covering that with a non-toxic sculpture epoxy that is almost like water-based clay.
You can smooth it with water, texture/emboss it, just amazing how close to clay it is. Sets hard, paintable, magic stuff really.
A comparison to zbrush would be using foam for divisions 1,2,3, and the epoxy at divisions 4,5,6…for all the detail.
Bas you asked “Why smashed the man eating his toes?”
Actually needed the room he was taking up, to be honest. Kind of wish I didn’t now, but at the time it seemed necessary.
So hey don’t burn anymore of your paintings man, hope you’re at least taking photos before you light the match.
Okay, guess my next post here will have to be less talk and more melanin…(still in the oven)… see ya!
1 Like
Yowza … thanks for the info Joe. Fascinating stuff on the sculpting. And a great link to the work of Mr Kruger … really love the humour and affection in his portraits. The link as is doesn’t work … just take out the two extra //.
Hi Joe, thanks for the explaination
…forum about sculpture : shiflettbrothers.com 
@ Joe_Seig : praise of the Uggly looking? 
Ps
Your Krugger is more than a caricaturist