Advanced Texturing: Creature Painting with Mari & Zbrush
We’ll begin this series by covering all the steps necessary to generate good UV’s for texturing, spending extra time discussing multi-tile UV workflows using a combination of Zbrush, Maya, and headus UV layout.
From there we will move into Mari, and discuss all of the major pallets starting with the Lighting and object tabs. From there we will continue on through the plethora of masking options taking extra care to discuss the paint buffer, and how to make sure we’re getting the most out of our texture painting,
We will cover various methods of blending our textures and using things like ambient occlusion, before diving into the many procedural textures and noises available in Mari.
Then its on the the heart of the matter where we go over different texture painting techniques using a combination of hand painted textures using the built in brush sets, as well as using photographs as textures with the paint images tool, and bring it home with a discussion on how to generate different channels like spec, sub surface masking, and various other masks for later use in Maya.
To close things out we will learn how to take the maps we created in Mari, and use them to generate a final pass of fine detail in Zbrush before generating our displacement maps.