Monika Kubickova

Making a start

Building up maps

Making a start

Building up maps

o steP 6 Eyebrows and sockets

Once you have one eye socket, you have one eyebrow. Once you have one eyebrow you have two eyebrows and two eye sockets, then you can place the nose. The nose, lips, and the rest of the face are pretty straightforward: Warp; Overlay blend mode; and feather the hard lines. Remember, no cloning!

Feather Shader MayaModel Nose

Q Step 7: Nose

Once you have the brow, you can start on the nose. Keep checking registration with a Lambert overlay. The nose has several key anchor points: the tip of the nose; the edge of each nostril; and the brow.

O Step 8: Lips

For the lips, you want to always pay attention to upper and lower lip.

Build each separately in parts paying close attention to corners of the mouth. Again, registration is key so double-check the lip with a Lambert overlay. The bottom lip will lead you to the chin. Once the upper lip is built, it will lead you back to the nose.

Step 5: Brow construction

If you're careful you can slide the eye photos right into the lip of the eve Photoshop's Warp tool becomes essential. I use the Overlay, Hard Liqht and Color Burn blend modes to manipulate translucent pieces of photos. This allows me tn perfectly register to the model. Once you have the eye, you have the evebrnws Often, I throw a surface shader and photo on the eyes for placement so when I give it back to modeling they have reference for the eyelashes For presentations, we always use surface shaders. It's a pain to render eves and it also depends on an environment map for reflection. The eye surface shader ¡s a nice way to get an eye in without giving the client a head with two holes

Making a start

RniMinn i.n mil

O s,eP 9 Cheek

The cheeks have several anchor points the corners of the eye; . am«ra aets tlusnea iniuuyn w www-------

the nostrils the lips and chin You can do the cheek in one large patch projection can e .<y ^ ^ Qf hgr hea(j Some pr0grams and align an these points with the Warp tool To mark your way use now has a Meti i ^^ ^ pr0jecte(j through an objeu.

opacity changes turning the patch layer on and oft and use the Overlay let you contro i ^ to project fu||y through. Overall blend mode S0^^«?■to the blurry, streaky mess, but over time you w o step 11: Projections

..r« a weird thing to grasp Whatever you paint through y0ur

Pr0|ec,lJ amera aets flushed through to the other side. Not.ce Momk proiection camera gets ^ nea(j Some programs ^ a now has a face on tne ojecte(j thrQugh an Qbject Qn n to project^y throug, 0.ra,Uua^

to use it as a guide.

Eyebrow Textures For Maya

O step 10: Forehead

Once the lower half of the face is complete, it's very simple to patch the forehead. Warp the forehead to the corners of the eyebrows and to the top of the head. Make sure you take into account where your hairline is. If you leave a little forehead when you do your eyebrows, your forehead will slip right on. Make sure you do a final alignment check with an overlay.

Making a start

Building up maps

Making a start

Building up maps

Q Step 12: Getting baked

Now it's time to bake your projection. For your bake settings make curfl vou have all options turned oft exceDt the liv ranne sure you have all options turned off except the UV range" default. One important Maya bug to remember is under your background mode select "Extend Edge Color". This will give your UVs a slight bleed. Without this option clicked you will get thin black lines on all

,,nnr coamc your seams.

O Step 13: Starting the map

Most artists will paint their background color skin tone. I paint mine neon green to see everything that needs to be covered with a photograph. With this pipeline, we don't paint or clone anything! It's for a good reason. We pound all this data into a photographic map which we will split into six separate maps later on. There is information in these maps that we will need for displacement. A clone mark or blurry patch will be clearly seen when it comes to bump and displacement.

Monika KubickovaDouble Eyelid Modeling

O Step 14: Lambert

After getting to know the initial model, it looks like the eyelid is a little off. The eye, nose, and jaw may change. Often during production if sticky clients make changes you see the model change several times. The power of standardized UVs is that it can handle pesky modeling changes. The texture map can withstand some of the most ridiculous changes. I always pull a Lambert for registration overlays.

Underwater Blurry


Nude Model Render

O Step 15: Surface shader render

It's time to start pulling surface shader renders. The surface shader (Maya term) is a 100% self-luminant shader that gives you a completely neutral view of the progress of your map. nulling all shading and lighting. I also make my whole team render on white. It is very important to see exactly what and where the projections are. Right off the bat I see streaking in the eyebrow edge as well as covering up all that nasty green.

Making a start

Building up maps

0 Step 16: Cheek build

It's important to find the jaw line. The initial model s jaw is a little longer than the photography I'm going to have to Warp the cheek more than

1 like Your anchor points are the ear hole, the temple, the edge of the eye. the corner nostril, corner of the lips, chin, and the jaw shadow from the Lambert In this case, I actually had to do the jaw in two pieces Once you have the jaw to cheek you have a temple patch and side of forehead patch

Monika KubickovaMonika Kubickova

O Step 17: Final side

Don't forget about the side of the nose. Every pari. of the final map should haw« NO streaks I quickly slapped on an ear with Warp, because therfe may b^ modifications to the ear The ha, easily falls into place; be Su to alion Ze forehead hairline. I quickly do a Lambert check to see wha the side projection can be pulled off. I left a grey lambert overlay vis.bfe to show the areas best left to the front.

Monika KubickovaFace Reference For Modeling

o Step 18: Final side

The key to production faces is to do as few projections as possible. Sometimes you can get away with doing a side projection once. If you're lucky with a model you can pull off just five projections: front; side (repeated and flipped); top; back; and under chin. In this case, I think we are going to have to do a 3/4 view projection as well. Modeling changes may still occur. Don't get hung up about how many or few projections it takes. Every model is different and requires many projections. A good artist does as many as are necessary.

0 Step 19: Progress

The map is shaping up nicely for a flip. Don't get attached to the work you've done so far. Right off the bat the eyebrows are still off. The lips nose, and eyes are looking solid. You have to look at the map just like a painting on canvas. This is just the underpainting. Right now my concern is to cover all the green and then start to dial in the map

1 am going to try to flip the right side projection and use it for the left just to kick start this underpainting.

Making a start

Building up maps

Q Step 20: Left build

The face is full of unconscious details and subtleties. A real face has variations, and we are working with a perfectly symmetrical model It's that much more important that we go ahead and vary the photography on the left side and right side. Most people don't know why something doesn't look photo-real, and more importantly neither does the artist. The jaw, neck, temple, and nose are all usual suspects for replacement.

o Step 21: Safety checks

Although this projection looks good, I want to do a final Lambert overlay as a safety check. Here's the projection overlaid on Lambert—notice the ear is off. As much as great photography makes a texture artist's lite easy, in the end what makes quality CG is a ruthless tenacity for detail. Picasso said: "It's 1% talent and 99% hard work." What will really make this map sing is a little artistic elbow grease.

Monika KubickovaMonika Kubickova

O Step 22: Nasty ears

Monika Kubickova

The Lambert overlay reveals that the earlobe is in fact off. The jaw line and nostril seems dead on. The Lambert will play a key role. Make sure to align all parts with the Lambert's shadows. The ear is a tricky thing. Sometimes you have to do three projections to finalize the ear. This is why starter maps are so important. I don't want be doing ears all day. Usually, it takes a profile ear projection and a rear projection. In this case, I probably won't do a front projection for the inner ear, because the hair will cover all this.

Hair Texture Map

O step 23: Progress

The map is shaping up nicely. I want to get the model covered so I will skip the front ear projection. You could go ahead and clone out the smears in the ear (one of the few times I condone cloning).

Miking a start

Building up mips

O SteP 24: Nasty neck

We are now getting to the pain in the ass parts of the map The advent of the starter map piiys a key role in mass-production pipelines. In the past it would take an artist 2-5 days to finish a facial map He spends 1-4 days doing stupid stuff like stretching under the neck and behind the ears The neck is split into five parts front; left; right; back; and the nasty under-chin.

n step 25: Front neck

♦ ir\t thP neck are the base of the chin and the collar

mnct nf the front neck on.

Monika KubickovaModelling Neck

O Step 26: Neck to chin

One trouble area for the neck will be the chin. Since we are going to do a lower angle projection, it's very important to nail the chin. As in this case, I am going to extend the projection all the way up to the lower lip so I have room to erase. Often in the neck area you run into color changes. Often with photographs depending on photographer, you see a stop or two difference in exposure.

separate projection'

bones Warp

Monika Kubickova

O Step 27: The jaw

It's important to get the jaw alignment right. Overlay checks ber The model's jaw is different from the photo, and a little Wa r key' is called for. Always be mindful of how much stretching you^ se to a photo. Once the middle neck and jaw outline are finished i d°'n9 the sides of the neck and the upper chest Wl" laV'

Making a start

Building up maps

Making a start

Building up maps

0 Step 28: Feather check

Paul Campion loves to heavily feather the edge of the lasso when cuttino and copying photos. I prefer to give my lasso a 1-pixel feather and aentlv work into the edges of patches of photos by hand. When lookina at th Z map I caught some hard edge lines around the chin. Often, you will not see lasso lines in the wide shots. I always inspect the map on a macro level and usually turn on grey view to see whether I lost any nastv feather lines. If you don't catch them now, they will jump out at you when do nn the bump map. uumy

O Step 29: Toned skin

3D.SK did a fabulous job with the photography. Often, a texture artist gets handed a bunch of crap photos. They look good at first, and then you get to that one angle the photographer missed, or it's out of focus, or it's a completely different exposure. The map has nice tonal consistency, but my eye is picking up some white patches around the chin. I need to get under the chin before I tackle those pesky exposure patches.

Monika Kubickova

O Step 30: Final projection

This is the final projection I want to hit the under nostril and under the chin. You also can see that the eyelashes and eyelids are smeared I will tackle those later when Hong finalizes the eye and gives me a closed eyelid blend shape.

O Step 31: Lambert

Until the underpaying is finished, I will be pulling Lambert views. Sometimes with the Lambert overlay you have to mess with Levels to get a true reading. The Lambert comes with the default lights baked in Don't be afraid to play with transparency settings as well.

Making a star!

Building up map

O Step 32: Nostril patch

The nostril patch is always a pain Make sure to do this right the first time Often, this is where the photographs break down—you will get exposure problems, or the photographer forgets to shoot them entirely. Peter did a great job with the photos, and this patch will slide right dn. Always double-check that the nostril orifices are perfectly aligned

Monika KubickovaMonika Kubickova
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