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. The Art of Poser and Photoshop: The Official Guide348 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 The Art of Poser and Photoshop: The Official Guide350 Figure 7.37 Refine Edge can also dis- played as marching ants Figure 7.38 Remove the background from the image 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. Chapter 7 ■ UV Mapping in Poser Pro 351 Figure 7.39 Delete the background from the left profile The Art of Poser and Photoshop: The Official Guide352 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 increase the contrast of the black-and-white UV map Figure 7.42 View of the Hue/Saturation adjustment layer to make the UV map a black-and-white image 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. Chapter 7 ■ UV Mapping in Poser Pro 353 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. 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. The Art of Poser and Photoshop: The Official Guide354 Figure 7.44 Resize your image to line up with the lips and eyes Chapter 7 ■ UV Mapping in Poser Pro 355 Figure 7.45 Vertically resize your image to match the UV template Figure 7.46 Completed view of the resizing Figure 7.47 Create addi- tional guides to assist with fur- ther mapping The Art of Poser and Photoshop: The Official Guide356 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 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. Chapter 7 ■ UV Mapping in Poser Pro 357 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. [...]... 18 Using the same technique, take out the detail in the areas near the eyelashes and allow the skin underneath the layers to wash away the darker detail that is represented by the shadows and the eyelashes See Figure 7.75 Figure 7.72 Draw in an outline over the right ear 370 The Art of Poser and Photoshop: The Official Guide Figure 7.73 Copy and paste the right ear and resize it to match the outline... 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 367 368 The Art of Poser and Photoshop: The Official Guide Figure 7.70 Final view of the face blended with the skin Figure 7.71 Close-up view of the right ear Chapter 7 ■ UV Mapping in Poser Pro 369 15 Temporarily turn on the UV map template and draw an...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 Figure 7.53 Resize your image vertically Figure 7.54 Final view of the resized image 359 360 The Art of Poser and Photoshop: The Official Guide Figure 7.55 Create the right side of the. .. onto a new layer Use the Warp tool (choose Edit > Transform > Warp) to shape the lips to match the outline that represents the original shape of the UV map 372 The Art of Poser and Photoshop: The Official Guide Figure 7.77 Use the Warp tool to shape the lips to the original UV template Figure 7.78 Apply a mask to blend the lips into the rest of the imagery Chapter 7 ■ UV Mapping in Poser Pro 373 Figure... Final view of the completed blending 20 Finally, create a new layer and change its blend mode to Color Use the Eyedropper to sample a shade of red from the lips of the original photograph Paint onto this layer on top of the lips to accentuate the reddish tint that was lost in the distortion of the lip detail See Figure 7.80 Figure 7.80 Add a red hue back into the lip detail 374 The Art of Poser and Photoshop:... 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 composition Make sure that the files overlap... attention to the ears Zoom in on the right ear, as shown in Figure 7.71 Chapter 7 ■ UV Mapping in Poser Pro Figure 7.64 Apply a mask to the front view Figure 7.65 Apply a mask to the front view to remove the hair 365 366 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... areas of the eyebrows Figures 7.83 and 7.84 show the settings for the brush created for this tutorial Figure 7.85 shows a close-up view of one of the eyebrows 3 Now let’s create the stubble for the model’s face Create a new file with the dimensions of 2×2 inches and a resolution of 150 pixels per inch Use the brush that you created in Figures 7.84 and 7.85 and create small black dots throughout the surface... 7.74 Blend the ear with the skin using the layer mask Chapter 7 ■ UV Mapping in Poser Pro 371 Figure 7.75 Take away the eyelash detail using the layer mask Figure 7.76 Create the outline around the lips of the original UV map 19 Follow Steps 15 through 18 to integrate the lip detail into the map Figures 7.76 through 7.79 show a visual example of the process Copy and paste the lips from the front view... the very last one in the menu Select it and let’s move on See Figure 7.86 Chapter 7 ■ UV Mapping in Poser Pro Figure 7.82 Create your color palette Figure 7.83 View of the Shape Dynamics brush settings 375 376 The Art of Poser and Photoshop: The Official Guide Figure 7.84 View of the brush settings for Other Dynamics Figure 7.85 Close-up of an eyebrow Chapter 7 ■ UV Mapping in Poser Pro 377 Figure . Mapping in Poser Pro 351 Figure 7.39 Delete the background from the left profile The Art of Poser and Photoshop: The Official Guide352 Figure 7.40 Apply the Hue/Saturation adjustment layer and pull out. 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. skin beneath the portraits Figure 7.57 Take out the seam with the use of a layer mask The Art of Poser and Photoshop: The Official Guide362 Figure 7.58 Use the Patch tool to smooth out the tonality Figure