create an alpha map, test polygon hair in Maya, research into painting textures with ZBrush, paint hair, edit hair texture in photoshop
Because I lost the Polypaint information that I was going to use as the alpha map, I decided rather than trying to paint the model in ZBrush again, I decided to create an ambient occlusion map, and use photoshop to change it into an alpha map.
Unfortunately, however, it turns out that I had made another mistake, trying to follow the tutorial too closely, I tried to copy the layout of the hair I used the photo it provided for this step as an expel of what my finished texture should be, not realising that the image wasn’t the full picture, the top and bottom portions of the image had been cropped off, cropping out the beginnings and ends of the strands of hair, rather than start over again, decided to save a bit of time by painting over the alpha map, fading out the ends of hairs and painting them back in.
With all the maps made I decided to test out the hair in Maya, there were a few snags trying to get the hair to work correctly, despite my attempts, the 3rd island of hair, the thickest one, was too thick and didn’t thin out well enough to work as a tress of hair so I just stuck to using the first two islands
I was also having difficulty getting the alpha maps to work correctly, as it turned out that Maya seems to uses the transparency information of any PNG files that are plugged into the material, also for some reason the black areas of the alpha map were still appearing visible for some reason, I fixed this by creating a new png alpha map using only white and transparency rather than white and black.
With the polygon hair now working, I started looking into the methods used when painting textures in ZBrush, as from my experience, the resolution of the Polypaint tool wasn’t very high, however, I soon learned that this was because the resolution of the Polypaint was connected to the resolution of the model.
I found it very interesting to see how experienced ZBrush users painted their models, using brush shapes and brush alphas, not to paint in a solid colour, but to intentionally create various specks and dots as part of the texture, creating a more textured, interesting, and realistic look. I also learned about colour zones and how human Caucasian skin is mostly made from a blend of the 3 primary colours, mostly yellow, but blue and red being blended in with the pale yellow in some areas.
Eventually, I found the spotlight tool, the Zbrush equivalent of Mudbox’sprojection tool, with this I could create a projection from an image and paint it onto model. Grabbing a hair texture from a free downloadable game mod, I started painting it on to the model.
Once the hair was painted I exported the texture and brought it into photoshop, changing its colour to a darker brown and combining it with a displacement map I made from the model to darken the crevasses
28th model shoes, make shirt part of the body (1st try)
Realistic running Shoes are another thing that I haven’t really had any experience modelling before, I gathered up a few references and watched a few tutorial, using them as examples, I blocked out the shape of the shoe, using both my references and the shape of my models foot as a guide, then blocking out some details, building a tongue, and sole for the shoe, as well as a few groves, some holes and some shoelaces.
I wasn’t sure if it was a good idea to build laces separately or to try build them as part of the shoe, because this character was going to be animated I was afraid that the laces would clip through the shoe or even each other, however, looking at a few more examples online it seemed that it’s okay to model the shoelaces, even if your character is going to be animated, I also checking with Emma who’s ringing the character and she seemed to be fine with the decision. Once completed I raised the resolution to match the rest of the model and removed the foot
Although cloth simulation and dynamics is possible within games and other real-time applications it’s not used extensively as rendering the movement of a high-resolution objects in a physically correct way is taxing on the Memory & Bandwidth of a device, as well as potential time-consuming, so I decided it would be faster, less taxing and easier to rig if I made the shirt part of the model.
This meant that I would have to make a few changes to the model’s torso. Originally the model was built naked, this was because we knew that we would be making a skinless version of the model to show which muscles were in use during the exercises, if the shirt was now part of the model it meant that the topology that divides the breasts should no longer be there as tops for woman are designed to cover the breast as a singular item and not surround each breast individually
Because I had already made a shirt previously using the topology of the models torso, I decided that I would try to simply re-integrate the topology of that model back into the character model, however, the problem with this, was that the shirt model had been turned into ncloth to shift its geometry into a more realistic shape, on top of this, the character model itself had gone through a lot of changes since it was made, this meant having to move a lot of vertex points around manually.
Originally my plan was to keep the top part of the shirt separate from the character model, making it a sort of semi-detached shirt. I thought that having a shirt that was part of the model but separates at the edges would be the next best thing to having a completely separate shirt. However, this proved to be complicated, tedious, and confusing, when I asked Alec for his advice about this he suggested that I should avoid any chance of clipping and should simply remove the top part of the shirt and integrate the model completely.
- 29th make shirt part of body (2nd try)
Even with the top of the shirt and shoulder straps removed it was still proved a bit puzzling to ingrate the shirt into the model, I eventually came to understand that the top of the model and bottom of the model had two different amounts of edges, I didn’t realise this until I took a look at the topology of the original character model, I could see that the original character model had a topology star at top of each breast in opposite corners, these stars created two extra lines each that wrapped around the breasts, thus never continuing downward along the body, giving the top of the model more edges than the bottom.
- 30th work for Greg’s module, fixing the UV’s for the new geometry
Who did I look into? Why did I look into them? How do I plan to get in contact with them?
Trying to do some work for Greg’s module I tried going through the contacts of my tutors using linked-in, (it will be easier to do this using my desktop, all the contacts that I was interested in are saved in a text document, and I’ve made notes on why I wanted to look into those people)
Dan wanket – Gary scheppke – Bradley Gabe – Phil Zucco Reel – Dave Houston – John “trey” Cunningham – Sandra NI chonaola – Jim Hillin – Bernard O Ceguerra, PE, PMP – Victor tancredi-Ballugera – Phil Cambell – Tamara Lusher-stocker – Michael kane – sean spencer – R. Zane Rutledge
fixing the UV’s for the new geometry
with all the changes that I’ve made to the geometry the UV’s inevitably shifted, because normal maps and other textures have already been made using the UV layout of the original character model and I’d like to be able to use those some of those maps in combination with the new textures I’m going to make, I moved the new UV’s into a similar position, then used unfold and relax to smooth out any warping or stretching.
Begin texturing: looked into Physical Based shading
Why did I decide to look into PBS? Because the 3D artist James Brady suggested it to me! Why look into it now? Because I am looking to texturing our character! Was the information useful? The information I discovered was useful enough, I came to understand what PBS was and while I’m not sure I really understood the entire math behind it, I understand that PBS is a new method of rendering surfaces within a digital 3D environment. With this new method comes new render’ers that utilise it and thus creating a new workflow for creating materials.
Begin texturing character: how do you plan to texture the character? I plan to use multiple photos to make a texture, blending them together and manipulating their shape in photoshop before applying them in ZBrush! Where do you plan to start? since I’ve only just finished sculpting the character’s shirt I figured that I’d start there, but I’m having a bit of trouble finding an image that can represent its fabric well enough!Once found what did you do with it? Taking a screen shot of the character model in ZBrush, I passed both the screenshot and the image texture into photoshop, blending them together using layer opacity and layer filters. Once blended, I loaded the result into ZBrush’s projection master, projecting the image onto the model, this method of texturing allows me to make the shadow information from ZBrush’s default shading part of the texture.
I repeated this process for every side of the model, exporting a new texture each time. After completing all 4 sides I blended the 4 resulting textures together
With the characters sports top pretty much finished I moved on to texturing the rest of the model. Fallowing along a course on digital tutors, I learned what sort of brush I should be painting with and what I should be aiming for when trying to paint a texture, I also tried to use what I learned about colour zones.
I quickly painted the short for the second time, painting the majority of it white with a few specks of black and then a few tints of pale yellow in some areas.
Then I used the same technique I used to texture the shirt, taking a screen shot of the face and then bringing that into photoshop.
When searching for a photo that I could use as a face texture, I tried looking for a face that was sort of similar to the face of our model, I can’t use the reference image that I first used to create the base model, the model has gone through too many changes so it won’t fit anymore.