5. Texturing.In order to do this next section your mesh must be unwrapped in a similar fashion to the image below

Personally, I don’t like painting on UV’s, so to minimize the amount of painting I do on them I use projection mapping.

6. Screen Shots
Take view port snapshots of parts of the model from the front, side and back, once with the wireframe over shaded on and once with the use no lights option on.
Then bring these into Photoshop and line them up in rows so all the views of each kind are beside each other and flattened into two single layers. Put the wireframe layer above the non wireframe one and set the wireframe layer to multiply so it’s see through. Then turn down the Opacity until you can only see the wireframe layer enough to use it as a guide.

7. Paint
At this point I change the solid color on the lower layer to an appropriate base color (skin color in this case) and begin to add hue sat layers above it to paint in color variation while flipping on and off the wireframe layer to remind myself of the form. I don’t want any luminosity information in this texture because I intend the model to be fully lit, but, if it were a game model, I would probably add curves layers as well to put in the lights and darks.
One area that is always in shadow is the nostrils, so I will add a curves layer and color in that part.

8. Projecting
When you’re happy with the painting of your front, side and back views, flatten, cut them up again (make sure you write down their proportions ie. 3x4) and save then out as targas. Next go back into Maya and make a plane that is the same proportion as the head_front targa. Give the plane a lambert and apply the head_front targa texture to it. Turn the transparency of your model’s material to 100% and go to the front view port. Now scale and translate the plane until the texture matches up with your model perfectly.

9. Baking out a Texture
Next, go to the hypershade and make a new lambert and apply the same texture but as a Projection, see below:

Then apply this material to the plane. In the projection node’s attribute editor hit the “Fit to BBox” button.Next apply this material to the model. Select both the model and the material node in the the Hypershade.

In the Hypershade window, select Edit>Convert to File Texture. Your settings should look like below and now hit convert. The new baked out texture is now on your model but you want to edit it so go to the texture files attribute editor and hit edit this will open it in Photoshop.

Repeat the projecting and baking process with the side and back. Make sure you use a consistent file size for all the maps baked out.

10. Blending together the baked textures
Back in Photoshop, layer all your baked out files of the head into a psd. Save it as “My texture work file” or whatever. Also bring in a UV snapshot of your characters UVs and layer it on top. Next, I add masks to the three texture layers and then blend them into one cohesive texture. Then I save out a targa and apply it to the character and Voila! the face is done and there shouldn’t be any stretching or much to fix. If there is, just make a fix layer in Photoshop and airbrush in what’s missing.

Now it is easy to see how you can piece together different painted angles of your character’s body parts without any stretching. I repeated the process with the arm, leg and shirt. For the shoe I painted right on the UVs and for the hair I used Zbrush’s projection master, since it would be rather difficult to project on the curly surfaces.

I actually made a little 512x512 texture that looks like this:I used it as my paint brush in the projection master. I painted as much as I could from one angle then saved out the texture file and repeated till I had covered every piece of hair from every angle. Then I took all the textures into Photoshop and pieced them together.

*Make sure you project over all the seams in your model, this way you’ll never have to worry about them showing in your texture.

Now onto Andy's Rigging process:

::next