@Matt:
Apologies about the reference issues, Matt . It's a bad habit.
That eye technique would definitely ease up on double eyelid creating during more loose sculpting with dynamesh.
WIP 17
In regards to the wrinkles, I can pull back still if I'm jumping the gun again too soon, as well as having a lot of the finer ones in a Layer.
I think I'm going to commit to retopologization soon, but does anyone see any major errors/critiques?
I really want to detail the clothes well. Not sure how beat up I want to make it. Been toying and learning about how to use Noisemaker effectively in Zbrush to get some of the jacket and shirt details out.
After some time, I finally have the retopology done to a draft.
I want to be thorough, so admittingly this step is exhaustive in terms of display.
To note, the jacket is floating geometry, not attached at all, though I'm assuming this IS the method for dealing with complicated layered clothing sets. There is no bicep geometry, just a little bit to account for the elbow before it goes into the forearms.
I want to really just aim for high fidelity, so it looks like I'm going to be fielding 3 or 4 texture sets, each concentrating on specific areas, If this is a terrible idea, someone please tell me. This is the first time I've ever done this, but if I remember correctly, this IS done for hero characters in other video games.
Hair textures will be on their own texture sheet sets, and I'm going to model them in later. I'm still going for thick cornrows.
Why not do one 4096 texture instead ? You're not doing a modular or alternate outfits, are you ? (if you do, why not have head and skin together in the same map ?)
Not sure what exact tutorial are you looking for. Wouldn't you bake ZB sculpt's vertex color as ID for dDO ? dDO can handle skin as well.
What I'm getting at is that I know, with dDo as it is now, I can't just make modifications to the dDo PSD and call it a day, since the PBR textures need to be somewhat completely different. I'm trying to look into Swizzle's and other existing project files, but I am at a loss since there seems to be a lacking explanation of what a Fuzz Map is, etc. My original workflow of using dDo to do initial texture bases it out of whack.
I keep seeing textures here and there, just not actualy somewhat step-by-step workflow procedures, or properly formatted PSDs for the textures.
EDIT:
Ok, I think I MIGHT be slightly getting this. Admittedly, today's the first day I'v really sat down to take a look at all this.
Doing preliminary texturing with dDO (Quixel Suite)
Does anyone know how to fix this Specular issue happening in Marmoset 2 for me? It's just cancelling everything out from the ALbedo, and I can't figure out with brute force experimentation what's going on.
Does anyone know what tool I should be using in Maya to get my hair braid to conform ALONG a CV curve? Can't use Attach to Motion Paths in this instance it seems.
There's not that much explicit tutorial references for texturing black skin at initial blush.
Doing what I can with existing photo references and instruction on where color zones are on people's faces.
(I just started really working on this model again because of certain circumstances. I think the last time I touched this was two months ago. Also due to said circumstance, I actually need to beeline this to a finish with a week or two.)
Dangnabit, I was looking at her photos and comped together a board while I was sculpting this. Especially her nose, I thought I had it within the "it looks like it's there minus super specific adjustments and noodeling." FRIK. Matt, I'm being serious, I am popping back and forth between Photoshop and ZBrush while I'm doing this.
Nothing retroactive sculpting can do.
Are we sayig the pores and wrinkles are too pronounced for a model/actress look? Or just in any real case, too pronounced. (I have this unconfirmed thought in my head that I'm making them super obvious so cavity maps and normal maps really catch it so I can easily localize certain effect with said maps.)
Skin local value, my only assertion is that I wanted it a lot darker than Nathalie has it, with what I wanted to get specifically done art direction wise, hence me ignoring her lighter skin tone.
The... The facial structure is still really... Caucasian. Um. Have you ever looked for any artistic break-downs of what's different about african-american facial structure? You're using reference, but it still kinda feels like all you did was widen her nose... And the ref you used seems to be of someone with a considerable lighter skin tone, which implies that her facial structure could be due to other genetic factors that your clearly darker girl might not have.
Sorry I'm picking at it this late into the project but it really does look off to me. She should be softer, and her colors have... like, stubble. Collect more dark-skinned female ref and follow how the pores sit, too, and how the colors work. Because it's pretty obvious that you're mixing too many refs... males, light skinned girls, game rez models, animation ref for a realistic character... Try to find a ref that's as close to the end result you want, instead.
EDIT: Ah, I've got something. Her nostrils are a strange shape, like the holes are from a pointed nose, but the outlying shape is wider. Get more ref for the inside bit of the nostril, maybe, could help sell the shape of the nose better.
(All this said, the differences may be just really obvious to me because I'm really familiar with this kind of face. Maybe the problems are something small and I'm just hyper-aware of them...)
Hmm. I don't know if this has been addressed or not, I ran a quick search for the word "blue" on all pages of the thread and didn't find anything.
Is there a reason her eyes are blue, if you're planning for her to be black? I believe it's possible for black people to have blue eyes (or hazel, or other colors), but they're reeeeaaaaallly throwing me off and I can't help but feel making them brown might instantly make this more believable.
Okay, so you tried and that didn't work. The potential fix there was that you had it already blown out by having that already toggled on, but evidently not.
It could be your gloss then. Are you using Metalness workflow or Spec? If you're using spec, can you point out your maps?
Really admire your determination Panda, you've really come a long way with this one, seeing the progress is really inspiring, keep going....keep applying the feedback, it's helping.
Replies
Anyways, I'm hoping this is closer.
That's already looking way better.
Is this structurally sound? Greenlight for details and wrinkles? (That rhymed, teehee)
Apologies about the reference issues, Matt
That eye technique would definitely ease up on double eyelid creating during more loose sculpting with dynamesh.
WIP 17
In regards to the wrinkles, I can pull back still if I'm jumping the gun again too soon, as well as having a lot of the finer ones in a Layer.
I think I'm going to commit to retopologization soon, but does anyone see any major errors/critiques?
I really want to detail the clothes well. Not sure how beat up I want to make it. Been toying and learning about how to use Noisemaker effectively in Zbrush to get some of the jacket and shirt details out.
After some time, I finally have the retopology done to a draft.
I want to be thorough, so admittingly this step is exhaustive in terms of display.
To note, the jacket is floating geometry, not attached at all, though I'm assuming this IS the method for dealing with complicated layered clothing sets. There is no bicep geometry, just a little bit to account for the elbow before it goes into the forearms.
I want to really just aim for high fidelity, so it looks like I'm going to be fielding 3 or 4 texture sets, each concentrating on specific areas, If this is a terrible idea, someone please tell me. This is the first time I've ever done this, but if I remember correctly, this IS done for hero characters in other video games.
Hair textures will be on their own texture sheet sets, and I'm going to model them in later. I'm still going for thick cornrows.
Face UVs (leaving space for teeth and tongue)
Clothes UVs
Skin and Hands UVs
And a 3D turnaround for closer examination.|
[sketchfab]7ab28860740a43c58aa6292739ea6482[/sketchfab]
Tara Multon Wireframe WIP by JadeEyePanda on Sketchfab
I'm still wrapping my head around how to tackle this texturing workflow, because it seems I can't just spit out base textures out of dDo.
Not sure what exact tutorial are you looking for. Wouldn't you bake ZB sculpt's vertex color as ID for dDO ? dDO can handle skin as well.
I keep seeing textures here and there, just not actualy somewhat step-by-step workflow procedures, or properly formatted PSDs for the textures.
EDIT:
Ok, I think I MIGHT be slightly getting this. Admittedly, today's the first day I'v really sat down to take a look at all this.
Does anyone know how to fix this Specular issue happening in Marmoset 2 for me? It's just cancelling everything out from the ALbedo, and I can't figure out with brute force experimentation what's going on.
Another question for everyone before I even place the hair, wodnering how should I texture this.
Do I let each tube be textured individually, or should I retopo and clump it altogether?
Beginning polypaint of the face.
There's not that much explicit tutorial references for texturing black skin at initial blush.
Doing what I can with existing photo references and instruction on where color zones are on people's faces.
Definitely still looking for critiques!
Dangnabit, I was looking at her photos and comped together a board while I was sculpting this. Especially her nose, I thought I had it within the "it looks like it's there minus super specific adjustments and noodeling." FRIK. Matt, I'm being serious, I am popping back and forth between Photoshop and ZBrush while I'm doing this.
Nothing retroactive sculpting can do.
Are we sayig the pores and wrinkles are too pronounced for a model/actress look? Or just in any real case, too pronounced. (I have this unconfirmed thought in my head that I'm making them super obvious so cavity maps and normal maps really catch it so I can easily localize certain effect with said maps.)
Skin local value, my only assertion is that I wanted it a lot darker than Nathalie has it, with what I wanted to get specifically done art direction wise, hence me ignoring her lighter skin tone.
Using these right now for value reference.
Sorry I'm picking at it this late into the project but it really does look off to me. She should be softer, and her colors have... like, stubble. Collect more dark-skinned female ref and follow how the pores sit, too, and how the colors work. Because it's pretty obvious that you're mixing too many refs... males, light skinned girls, game rez models, animation ref for a realistic character... Try to find a ref that's as close to the end result you want, instead.
EDIT: Ah, I've got something. Her nostrils are a strange shape, like the holes are from a pointed nose, but the outlying shape is wider. Get more ref for the inside bit of the nostril, maybe, could help sell the shape of the nose better.
(All this said, the differences may be just really obvious to me because I'm really familiar with this kind of face. Maybe the problems are something small and I'm just hyper-aware of them...)
Is there a reason her eyes are blue, if you're planning for her to be black? I believe it's possible for black people to have blue eyes (or hazel, or other colors), but they're reeeeaaaaallly throwing me off and I can't help but feel making them brown might instantly make this more believable.
Any better?
[IMG][/img]
Her top lip could stand to be a touch darker.
Good job.
I've done normal flips, Set to Face in Maya, ec to fix this but nothing seems to rectify this.
[IMG][/img]
In Maya, you should do the Reverse Normal instead of #2.
If you have problem with it still, then instead of scale it across -X, do a 180 degree rotation across Z axis instead.
WIP 23
Head Albedo
Head Gloss
Head Transluscency
Head Subdermal
Or why my albedo is getting so washed out? It's rather dark on my Photoshop image, but it gets so lightened up in Marmoset 2.
It could be your gloss then. Are you using Metalness workflow or Spec? If you're using spec, can you point out your maps?
Roughly posed the beauty shot.