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because of the way that paint is applied to the tubes in a Paint Effects brush, Maya is unable to extend the seam color, resulting in visible seams, as shown here:
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We ll just have to touch it up Select the softedged Artisan brush that we used to paint the lips Click the Eyedropper button next to the Color attribute to activate the sample color function Click over the eyebrow where the Paint Effects stroke is visible and sample its color Make the brush size very small, and paint the areas where the seam is visible This should clean up the area pretty well Once you are pleased with the color map, you can select another attribute to paint onto In the 3D Paint tool settings, scroll down to the File Textures section and select another attribute from the Attribute to Paint pull-down menu If you would rather continue working on the other channels in Photoshop, just make sure that you click the Save Texture button You may then open the file in Photoshop, or any other image editing application Once you make any changes in the Photoshop file, you can go back to Maya and click the Reload Texture button in the 3D Paint tool settings to see the updated texture
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If you ve gone through the previous tutorial and have found that the 3D Paint tool will not be useful for your production needs, perhaps you ll find it useful in other ways This section describes a few other uses for the 3D Paint tool: marking areas on a surface and cleaning up existing textures
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Marking Areas on a Surface
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One of the most useful applications for Maya s 3D Paint tool is to use it simply as a marking tool to direct painters where to paint in a 2D paint program Even when the UVs have been laid out in an orderly and recognizable fashion, the scale of the UV layout may not be proportional to the actual texture that you need to paint In other words, if you paint a circle on a texture map in Photoshop and then apply it to a material in Maya, the circle might appear stretched due to the layout of the UVs In such a case, you can use the 3D Paint tool to mark areas that need to be painted on the model Another excellent use for this tool is for use with dynamics This topic is covered heavily in s 22, 23, and 24, where you will learn that many particle attributes can be controlled
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The Complete Reference
with a texture Surface Emissions are one example You could easily paint onto an area of a model that will control the point at which the particles are emitted
Cleaning Up Existing Textures
Earlier, we used the Eyedropper tool to sample a color, and painted out the seam with the Brush tool to clean up artifacts that resulted from painting over multiple UV shells While that was a simple example, you may find that at times the detail in the texture map is too complex to use the Eyedropper tool In such cases, the Clone feature of the 3D Paint tool is just the solution Figure 19-12, left, shows a surface whose two sides do not have corresponding UVs, and an obvious seam exists in the texture By setting the Paint Operation to Clone and then sampling an area with the Set Clone Source button, the brush clones the sampled area when a stroke is painted The image on the right shows what the surface looks like after being touched up with the Clone operation FIGURE 19-12 The Clone operation is used to fix visible seams in a texture map
Summary
This chapter explored some of the features available to you with Maya s paint tools You can see that no shortage of options exists when it comes to painting in Maya The trick is finding out which tools are right for your particular job In the next chapter, we will explore rendering methods that will give your images extra shine
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