As soon as you hit Paint on the interface, the pictured dialogue box pops up. 99.9% of the time it’s best to immediately crank the Resolution slider up to 2,048. Tight Mapping often seems like a risky business, as it can lead to some problems on the UV map, potentially scattering it into smaller pieces. Tight Mapping also instigates a much longer process, which is reason enough to go for another option.
Once in Paint mode, the sculpture will be unpainted, so pick a skin tone – bearing in mind this example is quite cartoony – and hit F to fill the whole model. This sculpture has three individual geometries: head, eyes and helmet. Hide the head and eyes by holding down H and clicking on them. Now pick a colour for the helmet and fill it. Cmd/ Ctrl+H will reveal everything again, but keep the helmet and head hidden for now, so you’re free to fill in the eyes.
Now it’s time to use the Paint Brush (B), so pick a colour for the hair and apply your chosen tone. The Brush settings work exactly like the sculpting brushes. In Paint mode we can also make good use of masks. In the Options panel you can set the Brush Spacing to 5%, which only matters while the Airbrush mode is off. It is advisable to keep Surface Angle Falloff off at this point.
Having applied the base coat, we can start to bring in some details. To flush the skin a little, pick a skin tone and tweak it towards red with some more saturation. Lowering the strength of the brush helps to carefully redden the nose, cheeks, chin, ears and around the eyelids. Painting the iris with some imagined lighting is fun and you can finish by detailing the rivets on the helmet.ng geometry doesn’t entirely protect it from getting some artefacts of whatever you apply to adjacent areas or fill actions, so you may have to clean up a little afterwards.
The two little dots around the material icon let you step through the material slots, so go to the second and pick a metallic material. The Edit feature enables you to paint on that material. Go over all the rivets on the helmet with it, then go to the third slot and pick a glossy translucent material to paint on the eyes. Also faintly apply this to all the reddish areas on the skin.
Pick a Brush Alpha with Stippled Noise, then in the Options panel set Brush Spacing to around 90% and toggle on Combine Color and Bump. Select your chosen hair tone and start adding stubble. You can hit X and pick a colour for the Inverse brush to add pores.
Hiding geometry doesn’t entirely protect it from getting some artefacts of whatever you apply to adjacent areas or fill actions, so you may have to clean up a little afterwards. I would suggest only filling during the very early stages when corrections are easy. Masking is more reliable in this regard, but it’s somewhat sensitive to crashing.