x/brawlmods/brawlplus RSBE01BP.gct (B+ 7.0.3) FIGHTER - All character folders + some texture and PSA hacks. INFO - PORTRITE INFO2 MENU - COMMON, controller and STRAP MENU2 - sc_title_en.pac MODULE SOUND - SRTM SYSTEM - COMMON3_en.pac
x/brawlmods/textures/ fighter - copied from FIGHTER over in the brawlplus folder info - still empty menu - still empy menu2 - sc_title_en.pac
I am still having a hard time wrapping my head all the way around it. Its quite an adjustment from HBC to Riivo for me.
I know I have to make a music, stages, and movies folder...but what else needs to be done? I am still uncertain where a lot of things go...
COMPLETE RE-POST:-and don't you dare redirect me to WackaAlpaca's videos, its not how, to do it so much as it is what will have to happen after I swap them.
I am taking Kusagari Link's sword (by erasing all other bones and things not related to the sword), and am going to replace Falco's blaster with it. After that, I need to determine how to permanently place it in Falco's right hand. I will be replacing both the Blaster in the FitChar00 file and in the FitMotionEtc file.
After all that is done, what else needs to happen. Note that I have no experience in PSA, and until I get a computer of my own (probably a laptop), I will not touch PSA. My parents have enough stuff on their computers as it is.
Can you please list me other things that will need to happen?
Though I think calling it a guide would be assuming. More of a guide full of tips rather than actually how to do it (as I have no screenshots and no access to Photobucket for them thanks to AT&T, and I doubt i would fair much better with imageshack in the long run) So here we go!
EDIT: Sorry, accidentally pressed post instead of preview, finishing the post up now! (>^__^;)>
Contents
Prologue
Tip#1 - Layers
Tip#1.5 - Layer Styles
Tip#2 - Details
Tip#3 - Detail Size
Tip#4 - Simplicity or Complexity?
Tip#5 - Indexing
Tip#6 - Saving
Epilogue
Prologue
With Photoshop, a large variety of effects and visuals can be created on textured, the amounts of which are limited only by the model's file size limit, and the limitations of your imagination. You will find that Photoshop is a perfect tool for detail-based textures, such as ones that use denim, leather, cloth, and various other kinds of textures. The textures can come out looking good or bad to your eye depending on what you are aiming for. If it does not fit your standards, rework the texture till you have it the way you want.
However, before you start changing textures and such, you need to know a critically important thing in Photoshop...
Layers
Layers are a inextricable part of using Photoshop. Layers, as their name implies, allows you to layer parts of a texture you're editing on top of each other. For example. Say you have one layer where you have a large red dot, on the layer above it, if you paint a smaller dot of any color other than red, it will show up on top, blocking out the color below it. It is in this way that Photoshop is such a great tool. Layers allow you keep parts of a texture you want to be separate to stay that way...at least until you merge them all together. This way the details and effects you use won't interfere with each other as you work (Not counting Layer Styles, which I will discuss next).
Layer Styles
Layer Styles are special effects you can add to a layer to create many different effects on a single layer. By combining these, you can create amazing details that would be cumbersome to do otherwise. I won't go into details on the options, as it is best you learn it for yourself, but i will give an example as for what you can use it for. The Layer Style effects are:
Drop Shadow - Makes a shadow underneath whatever is on the layer, make a good 3-D effects for layering clothes.
Outer Glow - Makes a ring of color around the edge of whatever is on the layer. Won't be used too often, can be used for beautiful jewels.
Inner Shadow - Makes a shadow inside of whatever is on the layer. Similar to Drop Shadow, good for making jewels and possibly ice effects.
Inner Glow - Like Inner Shadow, makes a ring of color inside whatever is on the layer. Also good for jewels, ice effects, and many other useful 3-D tricks.
Bevel and Emboss: makes a 3-D shading effects on whatever is on the layer, can be used to make pieces stick out or making metallic effects.
Satin: Creates reflects in an imaginary environment, primarily used for metallic layer styles.
Color Overlay: Puts a color over whatever is on the layer. Can be used to add twinges of color to metallic textures and other objects.
Gradient Overlay: As the name implies: Puts a gradient of white to black over whatever is on the layer. Can be used for making various shading type effects.
Pattern Overlay: Puts patterns from the Patterns Palette over whatever is on the layer. This is useful for when you have a lot of custom patterns to use, and can create various material effects.
Stroke: Draws a line around whatever is on the layer. I have no idea what this could be used for.
By using the above, great effects can be created for various things like metal, leather, felt, denim, cloth, linen, and more. The sky is the limit with this. Now for the most important part of textures.
Details
Details make the texture what it is. They can be complex or simple depending on what you're aiming for. Details define the texture. So how you go about making and using these details is up to you entirely. However, you should always add basic details to things such as metal, cloth, wood, etc. As it doesn't look really good if they don't have some kind of defining details going for them. For example: metals should be shiny, while rubber and plastics should be duller and darker. The basic details should ways be present if you can help it.
A texture without details can end up being uninteresting and boring, but so can a texture with too many details on it. Find the balance between the two.
Now, sometimes the model will not allow for large texture edits, which is when you have to consider this...
Detail Sizes
Texture stretching happens when a small texture piece is taken and put on a larger surface. This causes the texture to stretch, and the quality to degrade enormously. So to combat this, you should make the details just as small as you can. Lloyd Irving's boot textures (which is on his body texture), are very small pieces, and are wrapped around a larger piece, as such, the quality tends to degrade a lot. To combat this to a degree, limit the size of your details to being as small as you can manage. Sometimes however the way the texture is stretched makes editing on some parts of the model impossible, such as Ichigo Kurosaki's model.
When I edited the textures to make Ichigo look like he belonged in Brawl anesthetically, there were some areas I found that I could not edit, so those parts specifically were left untouched for that reason. Sometimes that is just how things work out, and it is nothing to fuss over. Next up however comes a harder question.
Simplicity or Complexity?
This is a big question when doing textures: do you want to make it really complex and challenge yourself, or make it simple and stick with what you know?
There is no definitive answer to this, as only you can decide that for yourself. Sometimes trying new things in Photoshop can end up with complex effects and details that will awe people, but too many of these is bland and boring, because it gets dull after a while. Sometimes a simple texture can be a breath of proverbial fresh air for some people. It is all in the eyes of you and the beholder what you think is best: Simplicity, Complexity, or maybe trying both at once. The more artful you are with this, the more amazing your textures can become.
Next is a possibly crucial step, but that is for you to decide yourself.
Indexing
What indexing means is that you are taking the colors and reducing the amount to an absolute value (or number) of colors. This does not always mean your texture will come out looking hideous by default, but doing this will help reduce the size of the textures, making them easier to work with in BrawlBox.
The default number of colors to use is 256 colors. This will allow you to keep the optimum amount of detail possible with that amount of colors, but there will still be some minor degradation depending on what you have done with your texture. So use indexing wisely, and only if you think it is necessary.
Coming down the 7th inning stretch now, the most important thing in using Photoshop for texturing of all the above...
Saving
Do this often. As it will keep you from losing your work by anything short of a total hard drive failure or viral corruption.
Also, save two separate files if you're going to test your initial edits in Photoshop. One .psd with all layers intact and un-merged, and one .png to test in BrawlBox. This way you can see how your initial work looks on the model before you test it int he game, like a preview. The separate .psd allows you to continue editing the texture without having to mess anything up really bad.
Yes, this about the Emerald Textures on Kirby again. I have made two variations of the same one and one other.
I tried to follow Plasmakirby's guide for fixing the swirl effect so it won't mess with my textures by giving them a swirling warp effect on the edge3 texture (ever seen the Fire Kirby Emerald Texture? That is what I am aiming for with mine).
The problem is, as soon as I tested them, the textures did not have the swirling warp effect given by the original edge 3, but it contained a new problem: the textures are now aligned to the left of the center, which shouldn't be happening.
The only textures I edited were edge1 and edge 3. My edge3 is the same color (as exact as I can get it) as in PlasmaKirby's guide. So I don't know what is wrong.
I have been wanting an answer to his for a while so I could finally put up one of the variations and the Iron Ball texture I made. If you can help me with this, it will be greatly appreciated.
I have said this several times now, but I still am having problems with Emerald textures. This time, when I test them in game, they are not centered, they are centered to the left and I don't know what is causing it. Does anybody here know whats going on?
Note: edge3 was modified as it was in Plasmakirby's topic on Emerald Textures. It didn't give very detailed instructions though. So I have no idea what I did wrong to cause it to do this.
I attempt to make them work in Brawl Box, but when I test them in game, they are not centered. They go off to the left side then show a blank texture. What is wrong here?
I recently looked at Kirby's texture hacks, and want to know how people put those effects on Kirby's textures. This is because I have an idea for a Miracle Matter texture for Ball Kirby. (Which after I am done with a certain project, may think about making into a PSA Project.)
So can anyone help me with how to edit the textures properly?
Hey there everyone, since I have learned a couple of things from BrawlBox, I thought I would share them with people by making a quick guide about it, namely having to do with animation. The following topics will be covered as shortly and concisely as I am able. So don't depsair if this is long-winded in the end.
Note that this guide is NOT about how to do animations in BrawlBox, but a guide of principles you can follow as you use BrawlBox.
Getting Started -XYZ.
Getting Started - All about the Frame Work.
Knowing What you Want.
Inspector Velen Zaiga, Interpolation! - What is Interpolation?
Combating Monster File Sizes.
Things To Remember.
Lets begin, shall we?
Getting Started - XYZ
X, Y, and Z. What do I mean by these. If you haven't so much as touched BrawlBox as of yet, then this is going to be some very important information to you. X, Y, and Z refer to axis, and if you haven't had high school algebra (math) yet, then this will be very trick for me to explain.
Basically, an axis is a plane on which things rotate.
The X, Y, and Z refer to three different axis, X is Horizontal Rotation, Y is Vertical Rotation, and Z varies,
Z is variable between bones, it sometimes acts as an inverse of the X axis, or something all of its own. Its up to you to find what which is which for which bone.
Now moving onto.
Getting Started - All About the Frame Work.
Notice that framework has a space in it, there is a reason for this. This refers to frames: the lifeblood of animation. Without frames to move between, the animations will not move, and the characters stay stationary.
The speed of animations depends on how many frames there are parts of an animation.
Brawl's standard framerate is 60 fps, sixty frames per second. So if part of an animation lasts only 2 frames, it will be blindingly fast, where as a part lasting 120 frames will take 2 seconds to complete the movement. By managing the speed of your animations with the frames, you can give much vitality to your animations.
The amount of frames you use depends on what you want out of it, and if you need to, you will probably change that amount to accomodate your needs, but more on that in our next topic.
Knowing What You Want.
The above is a very simple statement. "Knowing What You Want" is important in animation. If you don't know exactly what you want, you may end up finding what you want through trial and error, but a sure-fire way to know what you want beforehand is to think about. This includes.
Writing things down on paper.
Thinking to yourself quietly/aloud about it
Doing an activity that may help you get an idea
As long as you know what you want, you are golden, and ready to start trying to animate. As you gain experience, figuring out what you want might be come easier, or be just as hard, it just depends on the way you think. A good way to gain experience is editing the pre-existing FitCharMotion.Pac files you can find in the Brawl ISO File download on Mediafire here.
By gaining experience, your animaitons become better and better, and your definition of what looks good will also change and evolve with your standards.
However, it is time to move onto another topic, which is~...
Inspector Velen Zaiga, Interpolation! - What is Interpolation?
Interpolation is a new feature added to the latest version of BrawlBox in order to make animation between key frames smoother. Key Frames are frames that have numbers appearing in yellow in the various XYZ Translation, Rotation, and Size fields on Bones. These act as absolute values, when a number is in yellow, then the position of that bone is absolutely that value, no more or less.
The Size Fields are mostly never used for key frames, so they will most likely be white.
What is interpolation by definition? Interpolation is when you take points and mark them on a graph. When you move between these points, approximations are calculated in order to move the line to the next "key" point on the graph. BrawlBox's interpolation feature is alot like that. It takes the key frames you have given it and it will make approximations of how to move the bone. Because of this, however, the results can be just as you want them, or they can be off grotesquely. To fix these, place a key frame in between the key frames causing you trouble, but do not add too many, because then you will have to start...
Combating Monster File Sizes.
As you make animations, the total file size will increase, this can lead up to being a lot or a little, depending on what you do. Animations with lots of key frames will dramatically increase the file size, while animations with fewer key frames will increase the file size relatively little. This is because BrawlBox has to remember every single key frame, which is why they are marked in yellow when you view the bones. Nintendo's FitMotion.pacs are relatively large, at about 1-4 Megabytes, and the characters and game both have file size restrictions, as long as you meet or are under the file size limit, you will be fine.
To clean up key frames from an animation, you can view them in the Model Viewer and load them up, or you can load the animation set directly to BrawlBox. This is especially true if you are a frequent user of copy and paste in BrawlBox, as part of the frame you copy and paste will become a key frame. To counter this, simply click and hold to select the number in the box, then delete it and type nothing into it, then click outside of the box. The box will turn white, and it will no longer be a key frame.
Be sure to check the end of your animations, as they most likely have keyframes in the translation part of the bone animation, delete those, as they will not affect the end result of the animation if you do.
By deleting unnecessary key frames, your file size will be kept in check, and you won't have to worry over monster file sizes.
Now, onto the last topic.
Things to Remember
The following are some things that you can keep in mind as you animate.
If you think it doesn't look right, it isn't.
You are the biggest judge of how good your animation looks, if it is not up to your standards, then go ahead and try again, and again, until you get it to look the way you want and think it should. Sometimes being lax about it is okay, but other times it will really lower the quality of your animations.
When the going gets tough, don't give in!
So one animation is getting you down? Give it time, you'll figure it out eventually, but if it just isn't working out, then see the above.
Don't let animating cut in too much on your sleep time.
Just like the homework you get from school, if you do not sleep, your grades will slip, and the quality of your animations can also slip if you're tired. This is entirely up to you, but don't let the animating process dominate you.
Less is more.
In many cases, it is best to delete as many key frames as possible to lower the file size, but the quality of the animations can suffer if you delete too many. Delete only the key frames that seem unnecessary to you, as well as the ones that are completely pointless to have, and you're golden. ----------------------------------------
That is the end of this guide, and I hope your reading experience was pleasant. Good day/night to you.
Okay, now I am curious about something else texture related: Is it possible to add new textures to the models without crashing BrawlBox or the game? If so, this opens up new possibilities for textures for me.
So is it or is it not possible. Your answer is vital, so be detailed.
Okay, I have decided that my latest project won't be just a basic texture hack, it will also be a PSA. Who it is I wish I could keep secret, but for the sake of the project, I must let it be known. Bushido Fox McCloud (AKA Space Samurai Fox). Before I start, I want to state the following for clarity.
I am new to model swapping (or vertex hacking if I must), you know this already if you have read one of my threads before
I learn visually and by example, but Youtube is a commodity for me (this computer cannot run videos that are not GIFs any more, my mother's company computer blocks it, the Wii is questionable, and I do not have my own laptop/computer, etc.). So Youtube links will not be very helpful. Which hinders me.
I am new to animating by the movement of the bones directly, so some tips will be appreciated very much.
I am extremely detail oriented, so vague instructions will not be helpful either. I need specifics.
Thank you. Now for the questions.
1. How do I take the sword(s) and then transport them over to Fox for his use?
2. What would you recommend for making Vertex Hacking easier? (I.E. Tips, Advice)
3. What animation would you recommend a newcomer to practice animation editing on?
4. What animation would you recommend for amateurs to animate for their first completely custom animation?
5. For a first time PSA, would you recommend swapping a few move animations from other characters?
Thank you in advance, you are being a great help.[/list]
Being able to make a character semi-transparent is key to the texture I am trying to do right now. Is it possible to make the textures semi-transparent, and in consequence, make the character themselves semi-transparent?
I am modifying the textures in Photoshop, just to clarify.
Hello everyone, welcome to Beren's Texture Gallery.
The reason I have started Texture Hacking is because I need to take a break from trying to color my drawings in Photoshop. I have done that so much that it has become boring, so I am going to use the skills I have accumulated in Photoshop to make Texture Hacks, from Simple recolors, to Vertex Hacks (Maybe a guide will be made once the newest version of BrawlBox comes around), they will all be placed here for you to use, and for your enjoyment. So here they are! My Textures!
As a fellow texture hacker, I would be very grateful for this. If you are willing, I will make downloads to various ones I have done recently when I can make them available.
Textures that I want to do.
Drachma on Ganondorf. (HOLD due to needing to figure out how to edit in the tunic.)
Pretty Bomber on Zelda
Space Samurai Falco
Note: To make things easier, all the files will be zipped, so that way you don't need to go to multiple pages for a download of the PCS and PACs.
Zero Nightmare
Original Texture by Dhragen.
The main difference between this and the original texture is the color. As for the "E-Tanks that were there, I had a heck of time trying to figure out how to make them transparent in Brawl rather than black. Any details on that would be appreciated.
The colors were based off the In-Game Sprite, which is why the texture is so dark, but I may go back later and make one based on the Official Art. Due to limitations, I couldn't take the sword trace and boomerang colors to make them black like the Sprite's Z-Saber glow(IOW: FitChar.pac), so you will have to settle for what is there for now.
This is an original texture that took me till late into the night to finish. To be honest though, I'm not too sure if this looks good. So some input on him would be appreciated too. I'm just glad to finally have him checked off of my list to be honest. Remember, give me input and I might consider it...so long as he stays Liquid Sonic in the process.
Now for a fun little intro!
With the Power of Blue Chaos, Sonic's body liquefies and reforms into to the amorphous Liquid (or Aqua) Sonic! However, the Blue Chaos Emerald is plainly seen on his chest. Could this be a weak point? Who knows, the opponent is too busy getting hit by punch after punch with flying fists of water, and who knows what else!
So if Sonic's body supposed to be made of liquid now, what does that make his feet/ shoes?
Well, after 100+ layers of work in Photoshop, this little masterpiece of mine is finally complete. This was the result of a concept I drew up on paper, but then decided to take a crack at as a texture, and I am happy I did! It came out beautifully, and am thoroughly joyed with it. I might make this a series if I can figure somehting out for the next one. No hints, but you may like it too. This Melon Motif looks good in game, and even features (albeit not very noticeable unless you zoom-in in-game) see through lace.
Well, Sonic has joined in on Halloween as Tronic, the parody hero from the video game world of TRON! This didn't take all that long to do, but it felt like a great accomplishment considering my severe lack of texture making due to school. He has a texture problem with the shoes and buckles I can't figure out how to fix. I may go back later and fix it if I found how to deal with it, but it's not a guarantee. Hope you enjoy it!
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