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Project Overview: Tough Guy

By Rudy Massar
Web: Open Site
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Date Added: 31st May 2013
Software used:
ZBrush

UV Layout

Before continuing with sculpting the folds, shoot the jersey off to Maya using GoZ. What's really cool is that Maya recognizes the creased edges. We're not going to do anything with it, it's just an observation.

Now it's time to create UVs, so start with a Planar Projection. Then select the edges where we want to cut the UVs. Move the separate UV shells aside and make sure they are oriented correctly, which means the blue color is facing you.

To unfold the UV shells, use the Smooth UV tool. Make sure the borders are not pinned at this stage and set its Space to World. Keep in mind the straight line pattern that you want to apply on the jersey. The hemlines lay out straight so the line pattern will follow the shape. This is the UV layout I've ended up with. From here it's back to ZBrush using the GoZ MEL script (Fig.14).

1727_tid_14 uv-layout.jpg
Fig. 14

Shirt Sculpting

Just like anything else, you start sculpting and shaping the modeling the lower subdivision levels. For this use the Move and Standard brush and set the Z Intensity to around 10-15. Build up the jersey slowly rather than carving in the folds, using a high Z Intensity value. On the higher subdivision levels, polish the folds a bit more and add a few thin creases to make the jersey a bit more interesting. Using different frequencies and variety in your folds help sell the jersey (Fig.15).

1727_tid_15 shirt sculpting.jpg
Fig. 15


NoiseMaker

The high frequency detail is easy to make using NoiseMaker. This is usually done by using a small tileable texture; a similar approach as in ZBrush. The pattern is a small texture overlaid on your model as a bump map. Once you are satisfied, you can bake in the result. For what we need to accomplish, the resolution of the mesh has be really high and since it doesn't do anything with the silhouette of the shape, let's keep it as is.

In the NoiseMaker window you clearly see the high frequency detail mapped on the low res jersey. Also notice that the fabric pattern is nicely following the shape of the borders. This is because UV mapping is selected. Once applied to the jersey, the fabric pattern is not yet baked in. Since this project is remaining in ZBrush, leave it as it is (Fig.16).

1727_tid_16 noisemaker.jpg
Fig. 16

Stitch Alpha

You also notice I've created a stitch line. I prefer to make this in ZBrush by sculpting it, capturing the shape and making it tileable in Photoshop. In a few quick steps I'll explain the process:

1. Make a 512 x 512 document, pick Plane3D and hit the Make PolyMesh3D button.
2. Subdivide the ZTool without Smooth turned on (the Smt button next the Divide button). Make a stroke to see if the resolution is high enough and undo the stroke to have a clear plane again.
3. Mask the middle of the plane by using Mask Rectangle, invert the mask and push it inwards with the Move Transpose Tool (W).
4. Now sculpt a few stitches in the middle and if you want, detail them a little.
5. Once you're done, move and zoom the plane so that one stitch is in the middle and the other two are sort of two equal halves. From the Alpha menu, open the Transfer tab and hit GrabDoc. Now a 16-bit ZAlpha of the document is copied into the Alpha shelve.
6. You can already test the alpha. The easiest way to do so is to select the StitchBasic brush and replace its BrushAlpha with the new stitch alpha. From the SpotLight menu (hit the Comma key), load one of the tools to test your brush on. In my case you clearly see that the repetition is interrupted (Fig.17).

1727_tid_17 stitch alpha.jpg
Fig. 17





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