The Art of Poser and Photoshop- P13

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The Art of Poser and Photoshop- P13:Before you dive into the first chapter, be sure to download the content and images from www.chromeallusion.com/downloads.html. You will see the title of the book in bold and below that, you will find the files you need. Please download the files for each chapter and place them into a main folder named Tutorials. You will be asked to reference the images from that folder as you work through the tutorials throughout the book. Of course you will need Poser Pro and Photoshop CS4 as well....

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348 The Art of Poser and Photoshop: The Official Guide You also have an option of representing the selected areas with black, as shown in Figure 7.34. Just as you can represent these areas with black, you can also represent the unselected areas with white. See Figure 7.35. It will also give you a simple mask where the areas that are selected are in white and the areas that are not selected will be in black, as shown in Figure 7.36. Refine Edge can also displayed as marching ants, as illustrated in Figure 7.37. Work in any view that suits you best and adjust the Radius to increase the size of the selection, or adjust the Contrast to define a sharper edge. You have options that will also adjust the smoothness of the edge to allow you to have a greater or lesser feathered edge. Use the Contract/Expand slider for small adjustments to the size of the selection. When you’re satisfied with the outline of a selection, commit the changes by clicking OK. You’ll see that the march- ing ants have inherited the parameters that you set in the Refine Edge dialog box. 4. Simply press the Delete key and the background will go away. See Figure 7.38. 5. Follow Steps 2 through 4 for the left profile, as shown in Figure 7.39. Figure 7.34 Refine Edge also represents the areas that are not selected with a black color
Chapter 7 ■ UV Mapping in Poser Pro 349 Figure 7.35 Refine Edge also represents the areas that are not selected with white Figure 7.36 Refine Edge can also display a simple mask
350 The Art of Poser and Photoshop: The Official Guide Figure 7.37 Refine Edge can also dis- played as marching ants Figure 7.38 Remove the background from the image
Chapter 7 ■ UV Mapping in Poser Pro 351 Figure 7.39 Delete the background from the left profile 6. You are going to use the JamesG2Head.jpg file as the template for creating the new texture that represents the face of the model on the digital images. Note that the UV map for James G2 is mostly dominated by a single, pinkish color. This is because this image is being used as the color map. The color map provides a con- sistent hue that will produce an even surface on the character. That is what you’re going to achieve by the end of this chapter. For now, you will use this UV map as a template to assist you in creating your own UV image map from photographic textures provided in the tutorials/ch7 folder. With the James UV map in the back- ground, add a couple adjustment layers to alter the color to black and white. Increase the contrast so that the dark outlines on the map are more prominent. Use Figure 7.40 as a guide to how your layers should look. The first adjustment layer is Hue/Saturation. Simply move the Saturation slider all the way to the left to remove all color from the image, thus making it black and white (see Figure 7.42). In addition, use levels to create greater contrast (see Figure 7.41). Change the blend mode to Darker Color so that the darker tonalities will stand out on top of the front view of the digital image that you will next place underneath the UV map. Now you can see the contour of the UV in relation to the face on digital image. You can use the original UV map for the James model as a template for creating the new digital portrait. See Figure 7.41.
352 The Art of Poser and Photoshop: The Official Guide Figure 7.40 Apply the Hue/Saturation adjustment layer and pull out all the saturation so that the image is more mono- chromatic Figure 7.41 View of the Levels adjustment layer to Figure 7.42 View of the Hue/Saturation adjustment increase the contrast of the black-and-white UV map layer to make the UV map a black-and-white image
Chapter 7 ■ UV Mapping in Poser Pro 353 7. Make sure that your rulers are turned on in Photoshop (choose View > Rulers). Click inside the vertical ruler and drag to produce the light blue guides to divide the face evenly in half. Do the same with a horizontal guide, but this time place it right above the eyebrows of the James UV map. You will place the eyebrows in exactly the same position and resize the frontal view of the digital image to the exact proportions of the UV map. This way there will be no confusion as to where things will go when the image is mapped back onto the James G2 figure. See Figure 7.43. Figure 7.43 Apply your guides to the UV map 8. Activate the Free Transform tool (choose Ctrl+T/Command+T) and make sure that the rotation point is placed at the top of the brow on the horizontal line. Hold down the Shift+Alt/Shift+Option keys and click and drag the top or bottom point located in the center of the bounding box. This will resize your image toward the rotational point, which is located in the center the forehead. So, resize it so that the lips and eyes accurately line up with one another, as shown in Figure 7.44.
354 The Art of Poser and Photoshop: The Official Guide Figure 7.44 Resize your image to line up with the lips and eyes 9. Do the same exact thing, but this time resize your image vertically so that the outer edges of the eyes and lips line up correctly. Keep in mind that everybody’s facial fea- tures are different, so some allowances have to be made. Do the best you can; you’ll make corrections later on. See Figure 7.45. Figure 7.46 shows a completed view of the resizing. When you’re done, simply press Enter to commit the changes. 10. Set up additional guides that will assist you in lining up the side view of the face to complete the rest of the UV mapping, as shown in Figure 7.47. It might be a good idea to turn off the adjustment layers and change the blend mode to Normal so that you can better see the contour of the original James G2 UV map. Keep in mind that you are setting up these guides in relation to the James G2 map and not the digital image so that when you’re done with this tutorial, the new UV map will map seamlessly to the James character. If you lower the transparency on the James G2 map, you can preview how well your digital image registers with the G2 template, as shown in Figure 7.48. 11. Now it’s time to place the front view of the digital image on top of the G2 tem- plates. After placing it on top, make an observation as to where things are located. See Figure 7.49.
Chapter 7 ■ UV Mapping in Poser Pro 355 Figure 7.45 Vertically resize your image to Figure 7.46 Completed view of the resizing match the UV template Figure 7.47 Create addi- tional guides to assist with fur- ther mapping
356 The Art of Poser and Photoshop: The Official Guide Figure 7.48 Lower the G2 template’s opacity to com- pare the resiz- ing results Figure 7.49 Create addi- tional guides to assist with fur- ther mapping
Chapter 7 ■ UV Mapping in Poser Pro 357 Integrating the Side View Into the UV Map This is where all the fun begins. You’ll take the side figure and use retouching techniques that are common to the digital-restoration industry to integrate the two digital images that will represent the UV map placed back onto the model. You’ll use a few techniques for this, including the use of layer masks, the Clone Stamp tool, and the Patch tool. Let’s begin. 1. Turn off the front view of the digital image so that you’ll be able to view the origi- nal G2 UV map, as shown in Figure 7.50. Figure 7.50 View of the original G2 UV map 2. Select the outside of the UV map using any of the selection tools and stroke it with black on a new layer that sits above all of the images. This outline will assist you in positioning the profile. In addition, place your left profile on the layer above the front view. Change the UV map’s blend mode to Screen and change its Opacity set- ting to around 50%, as shown in Figure 7.51. That way, while it’s sitting on top of your digital images, you’ll still be able to see some sort of details from the template to assist you in resizing the side view. 3. Begin resizing your image in the same manner that you did for the front view. Use Figures 7.52 through 7.54 as guides. 4. To create the right side of the profile, simply duplicate the left profile layer and flip it horizontally (choose Edit > Transform > Flip Horizontally). Line this copy up with the other side of the face to get something like Figure 7.55.
358 The Art of Poser and Photoshop: The Official Guide Figure 7.51 Change the template’s blend mode to Screen and lower its Opacity setting Figure 7.52 Resize your image horizontally
Chapter 7 ■ UV Mapping in Poser Pro 359 Figure 7.53 Resize your image vertically Figure 7.54 Final view of the resized image
360 The Art of Poser and Photoshop: The Official Guide Figure 7.55 Create the right side of the face 5. You’re going to use layer masking as well as the Clone Stamp tool to integrate all of these images into one complete image map. As you’re creating, the goal is to make sure that all edges take on the look and feel of skin. You’re going to create a model that is bald. You will not use any hair, so an additional photograph of the model’s skin is necessary. Go to the tutorials/ch7 folder and select portrait skin.tif. Place this file beneath your three portraits. This image was captured by photographing the larger area of the model’s back. The surface area had enough information that was similar to the detail on the face. It is ideal to use for this tutorial. The size of the skin image is half the size of the width of the file, so place it in one half of the file, duplicate it, and flip it horizontally so that you get a fairly symmetrical com- position. Make sure that the files overlap so that when you apply the next step they will blend seamlessly. See Figure 7.56. 6. Use a layer mask on the top layer to hide the scene in the center of the composi- tion. Use Figure 7.57 as an example. 7. Note that the tonality is not even in the texture. Some areas are light and some areas are dark, so this is a good opportunity to use the Patch tool. Merge the two layers together. Select the Patch tool and simply draw a selection around the area that is dark. Click and drag over an area that is even. See Figure 7.58. You will automati- cally see a preview within the area that you have selected. Once you have chosen the texture that you want to use as a replacement, simply release your mouse and let Photoshop do the rest. Use your Patch tool (see Figure 7.59) to clean up the other areas of the image so that the final result is a much more even texture.
Chapter 7 ■ UV Mapping in Poser Pro 361 Figure 7.56 Place skin beneath the portraits Figure 7.57 Take out the seam with the use of a layer mask
362 The Art of Poser and Photoshop: The Official Guide Figure 7.58 Use the Patch tool to smooth out the tonality Figure 7.59 View of the Patch tool 8. It is always helpful to make sure your models with Caucasian ancestry have a slight pinkish color. To assist with this, just duplicate the skin layer and change its blend mode to Screen. There is already some pink in the file, so the Screen blend mode will not only assist in brightening up the image but also will allow some of the pink- ish color to stand out. See Figure 7.60. 9. Once again, merge these layers so that you can work on a single bright, pinkish skin layer. Now, you can use the Clone Stamp tool to clean up any imperfections on the new layer. When you have completed this task, make sure that the skin layer is placed beneath the three portraits. See Figures 7.61 and 7.62.
Chapter 7 ■ UV Mapping in Poser Pro 363 Figure 7.60 Duplicate the skin layer and change its blend mode to Screen Figure 7.61 Select the Clone Stamp tool Figure 7.62 Apply the Clone Stamp technique to the merged layer
364 The Art of Poser and Photoshop: The Official Guide 10. Turn off all of the UV maps so that only the digital images can be viewed, as shown in Figure 7.63. Make sure that the front profile is sitting on top of the side views. Associate a mask with the forward view. Figure 7.63 Display the digital images only 11. Edit your layer mask so that the visual aspects of the front view appear to morph with the two side profiles. Make sure that you’re using a soft-edge brush and being gentle when applying pressure with your Wacom pen. See Figure 7.64. 12. Continue to edit the mask and use Figures 7.65 through 7.67 to assist you in the process. Take your time and don’t rush this part of the tutorial. It is important that you apply subtle changes so that you can see the possibilities more effectively. Make sure that you apply masks to both the side views and take out the visual elements so that the ears and front features appear to blend with the skin underneath them. 13. You need to flatten out the detail a little; you will do this by continuing to edit the mask so that the skin underneath blends into the details from the layers above. Figures 7.68 through 7.70 show an example of how the details underneath the eyes and above the eyebrows are blended with the skin texture beneath. 14. Now you need to give some attention to the ears. Zoom in on the right ear, as shown in Figure 7.71.
Chapter 7 ■ UV Mapping in Poser Pro 365 Figure 7.64 Apply a mask to the front view Figure 7.65 Apply a mask to the front view to remove the hair
366 The Art of Poser and Photoshop: The Official Guide Figure 7.66 Apply a mask to the front view to blend the skin Figure 7.67 A close-up view of the image
Chapter 7 ■ UV Mapping in Poser Pro 367 Figure 7.68 Edit the mask to blend the skin texture with the right eye Figure 7.69 Add the mask to blend the skin texture with the areas above the eyebrow