Edit a texture
The texture editor opens one variant of a garment as a flat picture. You add pictures, texts, shapes and paint as layers over the original, erase and select, adjust and replace colours with adjustment layers you can change later, and the ped in 3D shows the result while you work.
Open the editor
Select a garment and, under Variants, the variant whose texture you want to change.
Press Edit texture under Texture in the inspector. The editor takes the place of the garment list and the stage, and the category rail on the far left stays.
The bar at the top shows the texture’s name as GTA writes it, for example jbib_diff_003_a_uni, its size in pixels, its format and how much room it takes in the ped’s .ytd file.
The tools on the left are named, in four groups: selecting, adding, painting and retouching. Hover over a tool to see what it does and its shortcut. Hide tool names at the bottom shows only the icons, so the texture gets more room, and the editor remembers the choice. The row above the texture starts with the tool you are using and shows its settings.
While the texture has no layers, the layers panel shows Getting started, with the four things to know and buttons to begin with a text, a shape, a picture or the brush. Once you close it, it stays closed.
Views, zoom and panning
At the top you choose Texture, 3D or Split view. The split view shows the texture on the left and the ped on the right, and the editor starts in it when the window is at least 1024 pixels wide. On a narrower window there are only the texture and the 3D view.
The zoom menu in the top bar shows how close you are. Choose Fit to see the whole texture, or 100, 200 or 400 %. Ctrl and the mouse wheel zoom in and out around the pointer.
The mouse wheel on its own moves the texture, and so does dragging with the space bar held down or with the middle mouse button. A checkerboard shows where the texture is see-through.
Show transparency in the top bar shows the texture’s transparency in greys: white where it covers fully, black where it is gone, and the checkerboard comes through where the ped would show through. Press it again to see the colours. It changes only the picture on the left; the ped in 3D shows the holes as usual, and the button cannot be used in the 3D view.
The UV map
Press UV map in the top row, choose UV map in View or press Ctrl+H. The garment’s wireframe is drawn over the texture, so you see where the sleeves, the body and the collar land.
The arrow beside the button, UV map settings, changes the map’s colour and opacity, and Fill the islands tints each connected piece of the model, a UV island, in a colour of its own.
Add the UV map as a layer makes a paint layer of the map in its colour, to paint over or to save as a template.
The map is drawn from the model’s own UV coordinates for the garment you are editing, the same triangles the ped in 3D is drawn with, so it is exact. Coordinates outside the texture are folded in, as the game does.
Good to know
The map shows only in the editor and is never saved in the texture. To have it in the picture, use Add the UV map as a layer.
Channels, mip levels, grid and navigator
The Channels tab beside Layers, or Ctrl+2 to Ctrl+6, shows all the colours or only red, green, blue or alpha in greyscale. In alpha, black is fully see-through and white fully solid.
Mip level shows the texture as the game shows it further away, made smaller, levels 1 to 4. Thin lines and small text that disappear there do not show in the game from a distance either. A texture without mip levels is shown at full size at every distance, and the panel says so.
Pixel grid from 800 % in View, or Ctrl+', draws a frame round every pixel once you have zoomed in to 800 % or more.
When the whole texture is not in view, Navigator at the top right shows all of it with a frame round what you see. Click or drag in it to move the view, or use the arrow keys. You turn it off in View.
All of this is for the picture on the left only. The ped and what is saved stay as they are.
Find a spot from the ped
Hold Alt and click the garment on the ped in 3D. The editor shows the same spot on the texture, zooms in and marks it with a crosshair. When only the 3D view is open, the editor switches to Split view first.
A click that misses the garment you are editing changes nothing, and the editor says so. A drag turns the ped as usual, and the crosshair goes with the next click on the texture.
Add a picture or a logo
Press Picture or logo among the tools on the left, or press Shift+I, and choose a file. You can also drag a picture from your computer straight onto the texture.
A picture can be a PNG, JPG or WEBP file, and its transparency is kept. A picture larger than the texture is scaled down to the texture’s size.
The picture lands in the middle of the texture as a new layer, selected. It keeps its own size when it covers at most half the texture each way, and is otherwise shrunk to half the texture with its proportions kept.
Tip
Use a PNG with a transparent background for a logo. A JPG has no transparency, so the whole rectangle lands on the garment, background and all.
Write a text
Press Text among the tools, or press T, and click where the text should go. A new text lands with its middle where you clicked, and the word Text is selected so that what you type replaces it.
You type straight onto the texture and see the text as it will look. Enter starts a new line, and Esc or a click outside the text ends the typing. A new text left empty is not added, and a text you empty keeps the words it had.
To change the words later, double-click the text, or select it and press Enter. With Text, a click on a text that is already there opens it too.
The editor has eight free fonts: Outfit, Inter, Oswald, Bebas Neue, Anton, Roboto Slab, Permanent Marker and Pacifico. The Font menu shows each one in its own face. The fonts come from Pedify itself, so nothing is fetched from anyone else while you write.
Under Properties you also change the Size in texture pixels, the Colour with the colour picker or a hex code, the Alignment to the left, the centre or the right, Bold and Italic, and the Letter spacing. A new text is white, in Outfit and centred, and its size is a twelfth of the texture’s shorter side.
Outfit, Inter, Oswald and Roboto Slab have a bold of their own, and only Inter has an italic of its own. Choose bold or italic in a font without one and the browser makes one itself, and the editor tells you when it does.
Bend bends the text along an arc, up to once round either way. Bent up it curves like a rainbow, bent down like a smile, like a logo across a chest or a back. Each letter turns to follow the arc, and the text is drawn again, so it stays sharp.
Good to know
Dragging a corner of a text, or changing its Size, draws the text again at the new size instead of stretching it, so it stays sharp. A text always keeps its proportions.
Draw shapes
Press Shapes, or press U, and choose Rectangle, Circle, Line, Triangle, Polygon, Star or Arrow. Press U again to move on to the next shape.
Drag on the texture to draw the shape. Hold Shift and the rectangle becomes a square and the circle round, and the line is laid in steps of 45 degrees. A click without a drag puts a shape down where you clicked, a quarter of the texture’s shorter side in size.
A new shape is filled white with no outline, and a new line is white. Under Properties you change its Type, Width and Height, turn the Fill and the Outline on or off, and choose their colours and the Outline width. A line has no fill, only a colour and a width.
A polygon starts with six Sides and a star with five Points, and both can have from 3 to 24. Inner radius says how far in the star’s inner corners lie. A rectangle can have rounded corners with Corner radius. An arrow points right; turn it round by flipping or rotating it.
Good to know
Dragging a corner of a shape changes its width and its height separately, and Shift keeps the proportions, the other way round from a picture. The shape is drawn again at the new size instead of being stretched, so its edges stay sharp.
Move, resize, turn and flip
With Select and move (V), click a layer on the texture to select it and drag it to move it. The arrow keys move it one pixel, and ten with Shift.
Drag a corner handle to change the size. The proportions are kept. Hold Shift to change the width and the height separately.
Drag the round handle above the picture to turn it. Hold Shift to turn it in steps of 15 degrees.
Flip horizontally and Flip vertically under Properties mirror the picture.
Properties also shows the placement as numbers: X and Y for the middle of the picture, its width and height in texture pixels, its rotation in degrees and its opacity. Type a value and press Enter. Keep proportions keeps the width and the height in step.
Free transform in Edit, or Ctrl+Alt+T, shows the handles on the selected layer, or on the top layer when none is selected. Chrome keeps Ctrl+T for a new tab, which is why it is Ctrl+Alt+T.
Free transform, skew and perspective
Select the layer and press Ctrl+Alt+T, or choose Free transform under Edit. The handles show at the corners, in the middle of each side and above the picture.
Drag a corner to resize, and a side to stretch the picture one way. Hold Ctrl and drag a corner to move that corner alone, freely, as Distort.
With Ctrl+Alt+Shift and a corner it is Perspective: the corner beside it on the same side moves as far the other way. With Ctrl+Shift and a side it is Skew, and the side slides along itself.
The same modes are under Transform in Edit. The handles then work in that mode without any key held, until you press Enter or Esc.
Under Form in Properties you type Horizontal skew and Vertical skew in degrees, and where each corner goes on the texture, in pixels. A corner you type in lands exactly there.
The picture does not change when you shape it. The layer keeps the corners and the warp as values, so you can change the form again as often as you like without the picture getting softer, and Reset form brings the straight picture back. A text or a shape can be edited as usual and keeps its form.
The brush, the eraser, the retouch tools, the bucket and the filters work on the layer’s own pixels and say so when the layer has a free form. Choose Bake in form under Layer then, which draws the form into the picture.
Good to know
A corner cannot be dragged so that the picture folds over itself. The corner then stays where it was, and the editor says why.
Warp
Choose Warp under Transform in Edit. A grid of 16 points is laid over the picture.
Drag a point to bend the picture, over a fold or a rounded chest pocket for example. The corner points move the picture’s corners, and the points between them bend its edges and its middle.
Click a point to type in where it goes under Form, and press Enter or Esc when you are done.
The warp and the perspective can be used together: the warp bends the picture first, and the corners then put it in perspective. The warp is kept as points, as the corners are, and is drawn into the picture only when you choose Bake in form.
Tip
Put a logo in perspective first, so it follows the slope of the chest, and then bend it a little with the warp where the fabric bulges.
Rulers, guides, grid and snap
Press Ctrl+R, or choose Rulers under View, to show the rulers along the texture’s top and left edges. They count in texture pixels.
Drag a guide out of a ruler: a horizontal one out of the top one and a vertical one out of the left one. With Select and move you move it afterwards.
Drag the guide back onto the ruler to remove it, or choose Clear guides to remove them all.
New guide… puts a guide where you type it. Guides (Ctrl+;, on a Swedish keyboard Ctrl+Ö) shows and hides them, and Lock guides locks them so they are not moved by mistake. The guides are saved with the texture and are there next time you open it.
Grid shows a grid over the texture, with the step you choose under Grid spacing.
With Snap on (Ctrl+Shift+;) a layer you move, a corner you drag and a guide catch on what is near. Under Snap to you choose what: guides and the grid from the start, and the texture’s edges and middle, the other layers’ edges and UV islands’ edges when you turn them on.
UV islands’ edges reads the garment’s UV map, so a corner lands exactly on the edge of a sleeve or a front, and a layer lands with an edge or its middle on the island’s edge or middle. It works on normal and spec maps too.
Align and distribute layers
Select a layer. Hold Ctrl and click more layers in the layers panel, or hold Shift for every layer between two. The layers selected move together.
Choose what to align them to in the row of Select and move: The selection, The texture or The UV island, the UV island the layer’s middle is on.
Click one of the six buttons to put the layers’ left edges, middles, right edges, top edges or bottom edges exactly on the target’s.
The same is under Align in Layer. Distribute spreads three or more layers evenly between the outermost two, which stay.
Groups
Select the layers that belong together, with Ctrl or Shift for several, and press Ctrl+G or choose Group in Layer. The layers go into a group where the topmost of them was. You make an empty group with New and Group.
Click the arrow in front of a group to close and open it, or select the group and press the left and right arrows. The layers in a group are indented under it. Closing a group changes nothing on the texture and is not a step to undo.
Drag a layer onto the middle of a group’s row to put it at the top of the group, or onto the upper or lower edge of a row to put it above or below. Ctrl with [ or ] moves a layer into an open group beside it, and out of its group when it is at the bottom or the top of it.
Select the group and choose its mode in the blend mode menu above the list. Pass Through comes first and is the default.
A group in Pass Through gives the same texture as the layers without the group. A layer in Multiply in the group blends with what lies under the group, and an adjustment layer in the group affects everything under it.
In every other mode the group’s layers are put together on their own first, and the result is then laid on the texture with the group’s mode. A group in Multiply with a logo and a text in it makes the logo and the text one picture laid on the fabric, and an adjustment layer in the group affects only the layers under it in the group.
The group’s opacity and mask apply to everything in it. For a group in Pass Through the group’s result is mixed back with what lay under it, as in Photoshop. Locks on the group hold for every layer in it.
With the group selected the handles go round every layer in it that shows, and you can move, scale and turn the group with them, with the arrow keys or with the fields under Properties. Each layer then gets its own change. Skew, distort, perspective and warp work on one layer at a time.
Merge group, or Ctrl+E with the group selected, makes the group a paint layer with the group’s mode, opacity and mask. A group in a mode of its own looks the same afterwards. A group in Pass Through becomes a layer in Normal, so layers in it that blended with what was under the group can look different.
Delete group asks whether to delete the group with the layers in it, Delete group and layers, or only the group, leaving its layers, Delete group only. Ctrl+Shift+G and Ungroup do the latter at once. Select the group’s layers, or Alt and a click on the group’s name, selects every layer in the group.
Groups can sit four levels inside each other, and a texture has room for 128 layers, groups counted. Groups go to and come back from Photoshop when you export and import a PSD.
Tip
Put a logo and its text in a group in Multiply, and the fabric’s folds show through both without the text darkening over the logo under it.
Paint with the brush
Press Brush among the tools, or press B. A bar above the texture shows the brush’s settings.
The brush paints with the foreground colour, which you choose under Colour with the colour picker or a hex code, or in Colours. The Size is the brush’s width in texture pixels, and [ and ] make it a quarter smaller or bigger. On a Swedish keyboard those are Å and ¨, the keys where [ and ] sit on an American one, and the tooltips name them so. With Shift the same keys change the Hardness, which sets how soft the edge is, and the digits 1 to 0 set the Opacity to 10 to 100 %. The brush starts black, its size the texture’s shorter side divided by 32, with a hardness of 50 % and full opacity.
Drag on the texture to paint. A ring shows the brush’s size where the pointer is. A stroke is one step in the history, and where it crosses itself it never covers more than its opacity.
The brush paints on the selected layer when that is paint. Otherwise the first stroke adds a new layer, Paint, above the selected one and selects it. A paint layer is as big as the texture, but with Select and move a click on its empty parts goes through to the layer below.
Hold Alt and click the texture with Brush to pick up the colour shown there as the foreground colour. With Eyedropper (I) a click takes the foreground colour and Alt and a click the background colour. Sample size reads one pixel or the mean of 3 × 3 or 5 × 5, and Sample reads what shows or only the selected layer.
Presets at the start of the row gives a hard or soft brush in a few sizes, or an airbrush, in one click. You also save the brush you are using there, and saved presets stay on this computer. The presets work for the eraser and the retouch tools too.
Erase
Press Eraser, or press E, and drag. The eraser has a Size, a Hardness and an Opacity like the brush, with values of its own. It erases from the selected layer, paint or a picture, and what you erase becomes see-through in the layer, so what lies under it shows again.
Select Base under Layers to erase from the texture itself. What you erase there becomes see-through on the garment, and the ped in the editor’s 3D view shows the hole. The original is not changed, because the erasing is kept apart, and Reset to original brings it all back. A DXT1 texture that becomes see-through is saved as DXT5, and the inspector says so.
A text or a shape is drawn from its values and cannot be erased as it is. Erase from one, or delete selected pixels from it, and the editor first asks whether to turn it into paint. Turn into paint makes it a paint layer that looks the same, but its words, font and colours can no longer be changed.
Good to know
Whether a hole shows in the game depends on the garment’s shader, which Pedify does not control. Some garments are drawn so that what is see-through is cut away, while others are drawn solid and show no hole. Try the garment in the game before you count on the hole. Outside the editor, Pedify’s 3D view draws garments without their transparency.
Clone, heal and retouch
Choose Clone stamp with S. Hold Alt and click where the tool should copy from, clean fabric next to a mark for example. A cross shows the place.
Drag over what should go. What lies at the cross is painted where you drag, and the cross follows at the same distance. With Aligned the next stroke keeps that distance; without it, every stroke starts again from the place you clicked. The ring round the pointer shows what will be painted, half see-through.
Healing brush (J, then Shift+J) copies in the same way, but when you let go the copied texture takes on the light and colour at the edge of the stroke, so the seam disappears. It suits fabric with folds and shadows.
Spot healing (J) needs no source. Paint over a spot or a mark, and when you let go it is filled with fabric from what lies around it. A dark mark shows where you have painted until then.
The three paint in the selected paint or image layer. With Base selected, or another kind of layer, the first stroke adds a new layer, Retouch, so the original is never changed. Sample decides what is read: All layers, to begin with, reads what shows, and Layer reads only the selected layer, or the base when it is selected.
Blur, Sharpen and Smudge (R, and Shift+R for the next) soften, sharpen and push the colour along where you drag. Strength decides how much, and going over a place again makes it stronger.
Dodge lightens and Burn darkens (O, and Shift+O for the next), only in the Range you choose: Shadows, Midtones or Highlights. Exposure decides how much. Sponge makes the colours stronger or takes colour away, as much as its Flow says.
These six change the pixels of the layer they work in. On Base the editor first asks whether to duplicate it, and with Duplicate Base you then work in the copy.
The size, the hardness and the digits for the opacity work as for the brush, and every tool keeps its own. A stroke is one step in the history. The selection, the layer’s locks and its mask count as for the brush: with the mask selected, the clone stamp, blur, sharpen and smudge work in the mask.
Tip
To take a logo off a garment, clone it away roughly with Clone stamp, then go over its edges with Healing brush so the seam disappears.
Symmetry and pen pressure
Symmetry in the tool options mirrors every stroke of the brush, the eraser and the retouch tools round the middle of the texture: Vertical axis mirrors left and right, Horizontal axis top and bottom, and Both axes both ways. A dashed line shows the axis.
Through the UV map mirrors through the garment itself: what you paint on the left sleeve lands on the right sleeve, wherever it lies in the texture. The editor finds the same place on the other side of the ped. Where both sides share one part of the texture, the same place is painted.
With a drawing tablet, the pen’s pressure sets the size and the opacity. Under Pen pressure you choose whether it sets Size and opacity, only one of them, or nothing, and the choice is kept on this computer. A mouse always paints at full pressure.
Filters
Select a paint or picture layer and a filter under Filter, such as Gaussian Blur under Blur. A filter with three dots after its name opens a box with its settings.
Move the sliders. With Preview on, the result shows at once on the texture and on the ped, at the working size so it is quick.
Choose Apply. The filter is then laid at full size, and a bar shows how far it has come. Cancel stops it, also while the filter is working, and nothing is changed.
The filter changes the pixels of the layer and becomes one step of the history that you can undo. With Base selected the editor first asks whether to duplicate the base, and with Duplicate Base the filter is used on the copy, so the original texture is never changed. With the layer’s mask selected, the filter works in the mask. A text or a shape is first made into paint, and an adjustment or fill layer has no pixels to filter.
With a selection the filter works only inside it, and a soft edge fades the filter out towards the rest. With transparency locked, every pixel keeps its transparency.
Blur softens, Sharpen sharpens, Noise adds or takes out grain, Stylize makes a relief or draws the edges, Pixelate splits the texture into squares and Render fills with clouds or noise in the foreground and background colours. Noise and clouds start from a seed, so the same seed always gives the same result, and New seed gives another.
Ctrl+F uses the last filter again with the same settings, and Ctrl+Alt+F opens its box. The editor remembers each filter’s settings until the page is reloaded.
Offset under Other moves the texture and wraps it round the edges, half its size to begin with, so what was at the edges lands in the middle. Turn on Tiled under View to see the texture repeated round itself, and you see at once whether the edges meet.
Tip
For a seamless pattern: use Offset, mend the seam that now shows in the middle with Clone stamp or Healing brush, and check it with Tiled.
Select part of the texture
Press Selection and choose Rectangle or Ellipse (M), or Freehand or Polygon (L). Shift+M and Shift+L switch between the two. Drag a rectangle or an ellipse, or draw round what you want to select. A polygon you click out corner by corner, and you close it with Enter, a double-click or a click on its first corner. Backspace takes the last corner back and Esc lets the polygon go. Ctrl+A selects the whole texture, and a dashed edge shows the selection.
With Shift held down you add to the selection, and with Alt you take away from it.
Ctrl+D, Esc or Deselect lets the selection go. Press Esc in the middle of a stroke and the stroke is taken back, and only when there is neither a stroke nor a selection does Esc close the editor.
While something is selected, the brush and the eraser only reach inside the selection, so you can paint right up to an edge without going over it.
With Brush (press Shift+L until it is chosen) you paint what you want to select, like Photoshop’s quick mask. Choose its size in the row above the texture, and Shift and Alt add and take away just as for the other selections.
Work with a selection
While something is selected, a row of buttons shows what you can do with the selection. Each works on the selected layer, or on Base when it is selected.
Delete selected pixels, or Delete, makes the selected pixels see-through in the layer. On Base they are erased, just as with the eraser.
Copy (Ctrl+C) copies what is selected, and Cut (Ctrl+X) copies it and deletes it in the same step.
Paste (Ctrl+V) puts what you copied in a new layer, Piece, in the same place it came from and above the selected layer.
Duplicate selection (Ctrl+J) copies and pastes in a single step.
With Select and move, drag inside the selection on paint or a picture to move what is selected. The pixels are lifted out into a new layer, Piece, that follows the pointer, and the selection goes with it.
Adjust colour in selection lifts what is selected out of the selected picture or paint, or out of Base, into a new layer, Adjustment, in the same place, and opens its Colour adjustments. Nothing looks different until you change a value. A text or a shape cannot be lifted this way.
If you copied a picture in another program, Ctrl+V adds it as a new layer, just as Picture or logo does.
Tip
Copying in the editor empties your computer’s clipboard, so the next Ctrl+V pastes what you just copied and not a picture you copied somewhere else before.
Magic wand and UV island
Press Magic wand, or W, and click a colour. Everything like it is selected. Tolerance, from 0 to 255, sets how alike a colour must be, and it starts at 32, as in Photoshop.
With Contiguous only what connects to the spot you clicked is selected, otherwise every such colour on the whole texture. Anti-alias gives the selection a soft edge one pixel wide. Sample reads the Layer, the selected layer or Base as they show, or All layers, everything that shows.
UV island (Shift+W) selects the whole UV island you click in, a sleeve or a collar for example, exactly as it lies in the model’s UV map. Click between the islands and the editor says so. Ctrl+H shows the UV map and the islands.
With either tool Shift adds to the selection and Alt takes away from it.
Change a selection
Under Select there is more to do with the selection:
Inverse (Shift+F7, or Ctrl+Shift+I when Chrome does not take it for its developer tools) selects everything that was not selected.
Reselect (Ctrl+Shift+D) brings back the last selection you let go.
Color range… opens a box with its eyedropper ready. Click a colour on the texture and everything like it is selected, softly where the colour fades. Tolerance sets how far it reaches, as in Replace colour.
Under Modify are Feather… (Shift+F6), Expand…, Contract…, Border… and Smooth…. Each asks for a number of pixels. The texture’s own edge does not count as an edge when the selection contracts.
Select layer pixels, or Ctrl and a click on a layer’s thumbnail, selects what shows of the layer. With Shift it is added and with Alt taken away.
Save selection keeps the selection with the texture, so it is still there the next time you open it, and Load selection brings it back. A texture can keep up to eight selections. A saved selection never changes the texture.
Bucket, gradient and Fill
Paint bucket (Shift+G) fills what is like the colour you click with the foreground colour. It has the same Tolerance, Contiguous and Anti-alias as the magic wand, and an opacity. It reads everything that shows, so you can fill an area of the original.
Gradient (G) is laid from where you press to where you let go, linear, radial, angle, reflected or diamond, from the foreground to the background colour or Foreground to transparent. Reverse turns it round, and Shift keeps the angle to steps of 45 degrees.
Fill… under Edit, or Shift+F5, fills the selection, or the whole texture when nothing is selected, with the foreground colour, the background colour, black, grey or white.
Stroke… under Edit draws an edge along the selection, as many pixels wide as you like, inside, centred on or outside the selection’s edge, in the same colours as Fill…. Make a triangle or any other shape with the polygon lasso and give it an edge that way.
All three paint on the selected paint layer, or on a new layer, Fill or Gradient, above the selected one, just as the brush does. They keep inside the selection, and a layer with its transparency locked only gets new colour where there is something already.
The gradient is dithered, so a soft blend does not turn into bands in the texture’s 8 bits.
Foreground, background and Colours
At the bottom of the tools are the foreground and background colours, black and white to begin with. X swaps them and D puts black and white back. Click one of them to change it in Colours.
The Colours tab beside Layers has a square for saturation and brightness, a slider for hue, a hex code and red, green and blue each on their own. Under them are Recent colours, the 16 colours you last painted with on this computer, and Colours in the texture, the original’s own main colours, so a new colour can match the garment.
Shades, darker to lighter shows the colour you are changing in even steps from darker to lighter, keeping its hue all the way. Neighbouring hues turns the hue a little each way, and Complementary colour is the colour opposite it. Click a colour to choose it. Shades from the texture finds the main colours in what shows right now and gives the shades of each. With a selection the button is called Shades from the selection and reads the selection alone.
Crop
Select what you want to keep of a picture or of paint, select its layer and press Crop to selection or C. The layer’s picture is cut to the selection’s outer bounds, for example to trim the edge round an imported logo.
Crop never changes the texture’s size. The texture is laid on the garment by the model’s UV map, and a cropped texture would land in the wrong places on it. That is why Base cannot be cropped, nor can a text or a shape, which is drawn from its values. Hold the pointer over the button and it says why.
Adjust the colours
Under Properties, Colour adjustments changes the colours of the selected layer, whatever kind it is, or of Base: Lighter/darker, Contrast, Saturation, Hue and Exposure.
Drag a slider, or type a value in the box beside its name and press Enter. Lighter/darker, Contrast and Saturation go from −100 to 100, Hue from −180 to 180 degrees round the colour wheel, and Exposure from −5 to 5 stops, where each stop doubles the light. The button beside a value puts it back to 0, and Reset all puts them all back. Each change is one step in the history, and the transparency is never touched.
On Base the original is not changed: the adjustment is kept as values and laid on when the texture is put together, before the colour replacements and the layers. Reset to original takes it away.
Tip
While you drag a slider the editor shows the result at a smaller size so that it keeps up, even on a large texture, and at full size as soon as you let go.
Adjustment layers
Choose an adjustment under Image → Adjustments, or press New adjustment layer under Layers. The new adjustment layer goes above the selected layer and is selected.
Set the adjustment under Properties. The texture and the ped show each change at once, and when you let go of a slider the change is one step of the history.
Select the layer again whenever you like to change the adjustment, hide it or delete it. The original and the layers under it are never changed.
An adjustment layer has no pixels of its own. It changes the colours of everything that shows under it, and there are thirteen kinds: Levels, Curves, Exposure, Vibrance, Hue/Saturation, Colour Balance, Black & White, Photo Filter, Channel Mixer, Invert, Posterize, Threshold and Gradient Map.
Levels and Curves show a histogram of what shows under the layer. In Levels you set black, grey and white for all channels or one at a time. Auto does it for you, and Black point, Grey point and White point take the point from a click on the texture. In Curves you click in the box to add a point and drag it where you want, and the curve always runs smoothly through the points.
Hue/Saturation changes the hue, saturation and lightness of all colours, or only of the reds, yellows, greens, cyans, blues or magentas. With Colourise everything under the layer takes one hue while its light is kept, so a garment changes colour and its folds still show.
The Colourise button at the top of the editor does that in one click, and it is under Image → Adjustments too. It adds a Hue/Saturation adjustment layer with Colourise on, in the foreground colour’s hue and saturation, clips it to the selected layer and makes the selection its mask when there is one. The hue, saturation and lightness sliders open at once, so you can try colours and see them on the ped as you drag.
Hold Alt as you choose the adjustment to clip it to the selected layer. Then it changes that layer alone, a logo for example. When something is selected the selection becomes the layer’s mask, and the brush and the eraser paint in the mask while the layer is selected. The layer also has an opacity and a blend mode like any other layer.
Under Adjustments there are also Auto Tone, Auto Contrast, Auto Colour and Desaturate. They add an adjustment layer whose values are worked out from what shows under it.
Merge down bakes an adjustment layer into the layer under it. A layer cannot be clipped to an adjustment layer or merged into one, though, since the adjustment layer has no pixels of its own.
Good to know
The adjustment is saved as values and goes along when you export. Delete the layer and the texture is as it was.
Fill layers
Layer → New → Fill layer, or New adjustment layer, adds a layer that fills the whole texture with the foreground colour, or with a gradient from the foreground to the background.
Under Properties you change the colour, or the gradient’s shape, stops and direction. Choose Gradient (G) and drag on the texture to draw the gradient’s line again. With a mask, from a UV island for example, the layer fills only part of the garment, and Turn into paint turns it into an ordinary paint layer.
Replace a colour
Select Base, a picture or paint and press Replace colour… under Properties. A box opens over the texture. A text or a shape has no Replace colour…; change its colour in its properties instead.
The eyedropper is already on when the box opens: click the texture where the colour is, and it lands in Colour to replace. Press Pick the colour from the texture to pick another, or type a hex code. The eyedropper reads what the replacement will work on: the base with its adjustment and the replacements before it, or the layer’s own picture.
Choose the New colour with the colour picker or a hex code. Until you choose one it follows the colour you picked, so nothing changes yet.
Tolerance, from 0 to 100, sets how close a colour must be to change. At 0 only that exact colour changes, and the higher it is, the more nearby colours come along. It starts at 30, and the edge is soft, so there is no hard line where the change stops.
The texture and the ped in 3D show the change while you work. Apply keeps it as one step in the history, and Cancel or Esc lets it go. With the eyedropper on, Esc first puts the eyedropper down.
Lighter and darker shades of the colour change with it and move by the same amount, so folds, shadows and the fabric stay. The transparency is not changed.
On Base the replacement becomes a row under Colour replacements that you can change or remove later, and the original is not changed. The base can hold up to 16 replacements, made in turn, each on what the one before made.
On a picture or paint the replacement is baked into the layer’s picture. It can be undone, but it is not kept as a row to change later. With something selected, only the selected part of the layer changes. If no part of the layer is near the colour, nothing changes and the editor suggests a higher tolerance.
Good to know
While the box is open the rest of the editor waits: the layers, the properties and the shortcuts do nothing until you press Apply or Cancel.
Layers
Under Layers the layers are listed with the top one first. Base, the original texture, is always at the bottom and cannot be moved, hidden or removed, but you can select it to erase from it or copy from it.
Click a layer’s name to select it. Beside it you can hide or show it, rename it, move it up or down or drag it to a new place, duplicate it and remove it. Each layer has a small picture of what it holds. When nothing is selected, Ctrl+J duplicates the selected layer and Delete removes it. The Opacity slider above the list sets how much the selected layer covers.
When the garment wears skin or tattoos, they are shown over every layer, in the texture and on the ped, with Skin and tattoos (display only) at the top of the list. They cannot be edited here and are not saved in the document; Pedify paints them over the edit again when you save. Untick it to see the texture without them.
Good to know
A texture can have at most 128 layers.
Blend modes
At the top under Layers you choose the selected layer’s Blend mode. The mode decides how the layer’s colours mix with what lies under it. Hold the pointer over a mode, or go to it with the arrow keys, and it shows on the texture and on the ped at once; only when you choose it does it become a step in the history.
Multiply and Overlay come first in the list, because they let the folds and shadows of the cloth show through a logo or a print. With Multiply everything gets darker, like ink on the cloth: the white of the logo disappears and its black stays black. Overlay keeps both the light and the dark parts of the cloth.
There are 22 modes, the same as in Photoshop: Normal, the ones that darken, the ones that lighten, the contrast modes, the ones that compare colours, and Hue, Saturation, Colour and Luminosity. The mode is saved with the layer and comes along when you export.
Good to know
Where the base is see-through the layer blends less with it, and over a wholly see-through part the layer shows as it would in Normal.
Layer masks
Select a layer and press Add mask under the list. When something is selected the selection becomes the mask; otherwise the mask shows the whole layer. Under Layer, Layer mask there are also Reveal all, Hide all and From selection.
The mask shows as a small grey picture beside the layer’s picture in the list. While it has a ring, Brush and Eraser paint in the mask instead of the layer: black hides the layer, white shows it and grey shows half of it. The brush paints its colour’s lightness and the eraser paints black. Click the layer’s own picture to paint in the layer again.
Hold down Alt and click the mask’s picture to see the mask in grey on the texture while you paint, and click the same way again to see the texture. With Shift and a click you turn the mask off or on again, to compare.
Under Layer mask you can also Invert the mask, make a Selection from mask, Apply it, so what it hides is taken out of the layer for good, or Delete it. A mask moves with its layer.
Tip
A mask never changes the layer’s picture. What you hide is still there, and comes back when you paint white or delete the mask.
Clipping masks
A layer clipped to the layer under it shows only where that layer shows, such as a pattern that should show only on a logo. Select the upper layer and choose Create clipping mask under Layer, or press Ctrl+Alt+G. You can also hold down Alt and click the line between two layers.
A clipped layer is indented in the list with an arrow to the layer it is clipped to, and several layers in a row can be clipped to the same layer. Hide the lower layer and the clipped ones are hidden too. Release clipping mask, or the same shortcut again, lets the layer go.
Locks
Under the blend mode and the opacity are three locks for the selected layer, and the same locks are under Layer, Lock. A padlock in the list shows that something of the layer is locked.
Transparency, or /: the brush only colours what is already there and never changes the transparency, so you can paint over a logo without going outside it. The eraser and Delete selected pixels do not work then.
Pixels: the layer’s picture cannot be painted, erased, cropped or recoloured, but the layer can be moved.
Position: the layer cannot be moved, turned or resized, with the handles, the arrow keys or the fields under Properties.
Layer styles
Double-click a layer’s thumbnail or its row beside the name, or choose a style under Layer and Layer Style. The Add a layer style button under the layer list has the same styles.
In Layer Style, turn a style on with its box and choose it to see its settings, such as Stroke with its size, Outside and colour. Whatever you change shows at once on the texture and on the ped.
Choose Apply to keep the styles as one step of the history, or Cancel to let them go.
The styles are Bevel & Emboss, Stroke, Inner Shadow, Inner Glow, Colour Overlay, Gradient Overlay, Outer Glow and Drop Shadow. They are laid in Photoshop’s order: the shadow and the outer glow under the layer, and the others over it. A layer with styles has fx on its row, and a click there opens the box again.
Fill, under Blending Options and in the layers panel, is for the layer’s own pixels alone. At 0 % fill only the styles show, so a text becomes an outline with nothing inside.
The styles follow the layer as you move, scale or turn it, and its mask. They never change the layer’s pixels, so you can change them again at any time. Sizes and distances are in the texture’s pixels.
Copy Layer Style and Paste Layer Style under Layer Style give another layer the same styles, and Clear Layer Style takes them off.
When layers are merged, the styles are baked into the pixels. A text or shape made into paint keeps its styles.
Tip
For text on a garment: a Stroke Outside of 2–4 pixels and a faint Drop Shadow keep the text easy to read on light and patterned fabric alike.
Merge and duplicate the base
Merge down, or Ctrl+E, puts the selected layer into the layer under it, as a paint layer with the lower layer’s name, blend mode and opacity. Masks, blend modes and clipping are painted in as they show. Both layers must be showing.
Merge visible, or Ctrl+Shift+E, puts every layer that shows into a new paint layer, Merged. Hidden layers stay as they are.
Warning
A layer in a blend mode other than Normal is blended, when layers are merged, only with the layers merged with it, not with the base. Where the layer under it is see-through the result can therefore look different, as in Photoshop.
Duplicate base under Layer, or Ctrl+J when Base is chosen and nothing is selected, puts the base as it shows, with what you erased and its colours, in a paint layer of its own at the bottom, Base copy. There you can paint on the original’s pixels while the original stays untouched under it.
Good to know
A copy of the base takes as much room as the texture. At 4096 × 4096 it is 64 MB in memory and tens of MB in the drafts on the computer, and the editor says so.
Compare, reset and undo
Before/after shows the original texture, both on the canvas and on the ped. Click it to switch between the original and your edit, or hold it down to see the original until you let go.
Reset to original removes every layer, everything erased from the base, and the base’s colour adjustment and replacements, after asking. Nothing is saved until you press Save, so a reset followed by Save gives the garment its original texture back.
The editor has its own history while it is open: Ctrl+Z undoes, Ctrl+Shift+Z or Ctrl+Y redoes, and so do the two arrows in the editor’s top bar. It keeps up to 100 steps. The editor’s shortcuts do nothing while you type in a field.
The History tab lists the steps by name, from Start on. Click a step to go there in one jump. The steps after it turn grey and can be redone until you do something new. You reach the tab from Edit too.
Size for FiveM
A texture 4096 pixels or more on a side can make the ped heavy, and the editor says so in a row under the top bar, with buttons such as Shrink to 2048 × 2048 and Shrink to 1024 × 1024 and about how much each size saves, estimated as the Optimize panel estimates it. If you have changed anything you are asked first: your layers come along and keep their places at the new size, but what you did before can no longer be undone in the editor, and making it smaller is a step in the project’s history.
On a garment that is already painted, with a saved edit, skin or tattoos, the buttons cannot be used, and the row says why.
Sides that are not a power of two, such as 756, only get a note: the game handles them, but they can take more memory.
Warning
Sides that are not a multiple of 4 cannot be compressed with DXT. The editor warns about it and asks again when you save. Save anyway saves the texture in the format it has, without compression, so it weighs more on the ped. Change its size first to compress it.
Hide the size notes hides the row until you close the editor.
Save, cancel and change it later
Save, or Ctrl+S, puts the edit in the ped. A bar shows the progress while the texture is written, then the editor closes and the inspector shows the new texture. In the ped’s history the whole edit is one step.
Cancel or Esc closes the editor without saving. If you have changed anything you are asked first, and Discard changes throws the changes away.
The layers are kept with the project, and the pictures stay on your computer. Open the same texture with Edit texture again and the layers are back, so a logo can still be moved or removed and a text written again. Skin tones and tattoos on the garment are painted over the edit, and an export writes the finished texture into the ped’s files.
Good to know
The texture keeps its format and its mip levels. If a DXT1 texture gets see-through parts, it is saved as DXT5 instead, because DXT5 keeps the transparency, and the inspector says so.
Editing a texture costs no credits, however much you change. Only a new variant costs, as the next section says.
Save as a new variant
Press the arrow beside Save, More ways to save, and choose Save as a new variant.
The result becomes a new variant, the next letter on the garment, and is selected. The variant you edited stays as it was. The new one starts from the same original and gets a copy of your layers, so Edit texture opens it with them and you can go on changing it.
A new variant counts as a hair colour and costs like one: 10 credits for every 4 colours or part of 4 on each garment, counted together with the garment’s hair colours. The credits are charged when an export succeeds.
A garment can have at most 26 variants, a to z. When it is full, or before you have changed anything, the choice cannot be used and the menu says why.
Files in and out
Choose File and Export…. Under What choose the texture as it looks, the selected layer, the selection, the UV map or all layers as PSD, and Export downloads the file named after the texture, for instance
jbib_diff_003_a_uni.png.Import…, Shift+I and dragging a file onto the texture take PNG, JPG, WEBP, DDS, TGA and PSD. A picture becomes a layer. A PSD opens Import PSD, which shows the layers that come along and what did not come along as it was, and there you choose Replace the layers, Add on top or As one picture.
Edit in another program… downloads every layer as a PSD. Open it in Photoshop or another program, change it and save it as PSD. Then press Read in PSD… in the row above the texture, and the file’s layers replace the edit’s.
As DDS the texture is written exactly as the export writes it, in its own format and with its mip levels, or in the format and with the levels you choose. DXT1 cannot keep transparency and so cannot be chosen for a texture that shows through.
In a PSD every layer comes along with its name, visibility, opacity, blend mode, mask, clipping and locks, and the base becomes the lowest layer. Adjustment layers and a colour fill are written as Photoshop’s own, while text, shapes and gradient fills become pixels. When the file is read in again the base is recognised and left out, so the base keeps its values.
Layer styles are written as Photoshop’s effects, which Photoshop and Photopea show and which come back here as styles. For GIMP and Paint.NET, which read no effects, choose Bake in layer styles and the styles are baked into the layers’ pixels.
Copy merged, Ctrl+Shift+C, copies what shows within the selection, or the whole texture when nothing is selected, to the computer’s clipboard as a PNG. Ctrl+V lays it in as a new layer in the same place.
Good to know
The files are written and read in the browser on your computer. Nothing is uploaded, neither when you export nor when you read a file in.
Normal and specular maps
Select the garment and press Edit the normal map or Edit the specular map under Edit texture. In the editor you go between the maps and the colour texture under File, with Edit the colour texture to go back.
A map is edited with the same tools as a colour texture: layers, the brush, selections, filters and retouching. The bar over the texture names it as the game does, for example
jbib_normal_003.Save saves the map in its own format and with its mip levels, as one step of the history. It costs nothing.
Warning
A garment has one normal map and one specular map, and all its colour variants share them. What you change in a map therefore shows on every variant of the garment, which the editor also says at the top.
For a garment the maps go into the ped’s .ytd as jbib_normal_003 and jbib_spec_003. For a prop, such as a hat or glasses, they stay in its model, and _p.ytd gets the colour textures only, as in the game.
When the garment has no map, the editor makes one to start from: a flat normal map or a neutral, dark specular map the size of the colour texture. When the garment’s model reads no map of that kind, the button says so, because the game then does not show it.
On a normal map the clone stamp, healing, blur, sharpen and smudge turn every texel they change back into a proper normal, so a patch you painted out does not turn dull or crooked in the light.
Show as lighting under View, or the sun in the bar, shows the normal map as a surface under a light, so you can see folds, seams and what you changed. The arrow beside it, The light, turns the light and sets how high it stands. It is only a view and is not saved.
What each channel of a specular map means in the game is not confirmed, and the editor claims nothing about it. Look at the channels one by one under Channel. Lighter usually shines more, so a printed logo turns matte when you make the map darker under it.
Normal map from image
Open the normal map and choose Normal map from image… under Image. From a colour texture the same choice opens the normal map first.
Under Height from you choose what the height is read from: a variant as it looks, what shows, or the chosen layer. Dark becomes low and light high, so a seam or a fold that is darker in the colour texture becomes a groove.
Strength sets how deep it gets, Blur first smooths the height first so only larger shapes show, and Invert the height turns it upside down. The dialog shows the result under a light while you change it.
The normal map goes into a new layer on top, within the selection if you have one. Save as usual.
Under Green channel, DirectX, Y− (as GTA) is chosen from the start, because GTA’s own clothing normal maps point green downwards. OpenGL, Y+ is for a map meant for another program.
Flatten within the selection under Image lays a flat normal in a new layer where you have selected. It takes away folds and pockets under a logo or a patch, so it looks printed.
Tip
Put a logo on the shirt? Select it on the normal map, flatten there, then make a new normal map from the logo as its source, so the light follows the print’s edges.
Apply to other variants
Choose Apply to other variants… under File or in the menu beside Save, More ways to save.
Tick the variants that should get the layers. A variant of another size, or one that would get too many layers, cannot be chosen, and the dialog says why.
Everything is saved as one step, this variant and the others, and the editor closes as after Save.
The layers go on top of each chosen variant, in exactly the same place. The variant’s own changes stay under them.
With Match the colour to each variant, pictures and paint move to each variant’s colour under the layer. That suits a patch that removes a mark on a red shirt, so it turns blue on the blue one. Leave it off for a logo that should look the same on all of them.
It costs nothing, since the variants already exist.
Unsaved changes
While the editor is open and something is not saved, a draft is kept on this computer, at most every three seconds. It is never uploaded. If the tab closes or the browser stops, you lose at most a few seconds of work.
Open the same texture again and the editor asks whether to bring the changes back. Bring back opens them as they were, still unsaved, and Discard throws the draft away. It only asks when the draft was made on the edit that is saved now; a texture saved another way since opens as it was saved.
The draft is deleted when you save, when you save as a new variant, when you cancel and discard the changes, and when the project is deleted. Each variant of each garment in a project has a draft of its own.
Shortcuts
The tooltips show the shortcut of every tool and button. No shortcut does anything while you type in a field, and while Replace colour is open only Esc does.
V Select and move, M and L the selection, W Magic wand and UV island, I Eyedropper, J Spot healing and Healing brush, B Brush, S Clone stamp, E Eraser, G Gradient and Paint bucket, R Blur, Sharpen and Smudge, O Dodge, Burn and Sponge, Shift+I Picture or logo, T Text and U Shapes (again for the next shape). Shift and M, L, W, G, J, R or O goes to the next tool of the group.
[ and ], on a Swedish keyboard Å and ¨, make the brush, the eraser or the retouch tool in use smaller or bigger, and with Shift harder or softer. 1 to 0 set the opacity to 10 to 100 % for the brush, the eraser, the bucket and the gradient, the strength, exposure or flow for the retouch tools, and otherwise the selected layer’s opacity. Two digits one after the other give the percentage they make, so 4 and 5 is 45 %. Alt and a click choose where the clone stamp and the healing brush copy from. D gives black and white and X swaps the foreground and the background.
Ctrl+Z undoes, Ctrl+Shift+Z or Ctrl+Y redoes, and Ctrl+S saves.
Ctrl+J duplicates the selected layer when nothing is selected, or the base when Base is selected, and Delete or Backspace removes the layer. Alt with [ or ] chooses the layer below or above, Ctrl with them moves the layer down or up and Ctrl+Shift to the bottom or the top. Ctrl+E merges the layer with the one under it and Ctrl+Shift+E every visible layer. Ctrl+Alt+G clips the layer to the one under it, and / locks its transparency. Ctrl+Alt+T shows the handles. The arrow keys move the layer one pixel, or ten with Shift, and Enter opens a text to write in it.
Ctrl+G puts the selected layers in a group and Ctrl+Shift+G ungroups it. Ctrl+E with a group selected merges the group. While the editor is open it takes Ctrl+G and Ctrl+Shift+G from Chrome, which would otherwise find the next match on the page.
Ctrl+Alt+T shows the handles. Ctrl and a corner distorts, Ctrl+Alt+Shift and a corner gives perspective, and Ctrl+Shift and a side skews. Enter or Esc ends a mode under Transform.
A double click on a layer’s thumbnail or row opens Layer Style. It has no key of its own, as in Photoshop, and Esc closes it with nothing changed.
Ctrl+A selects all, Ctrl+D deselects and Ctrl+Shift+D reselects. Shift+F7 inverts, Shift+F6 feathers and Shift+F5 or Shift+Backspace fills. Ctrl+C, Ctrl+X and Ctrl+V copy, cut and paste, Ctrl+J duplicates the selection, Delete deletes the selected pixels and C crops. Shift adds to a selection and Alt takes away from it.
Ctrl+Shift+C Copy merged copies what shows. While the editor is open it takes the shortcut from Chrome’s element picker.
The maps have no shortcuts of their own. Ctrl+2 to Ctrl+6 show a specular map’s channels one by one, and Ctrl+A followed by Flatten within the selection makes the whole normal map flat.
Ctrl+L Levels, Ctrl+M Curves, Ctrl+U Hue/Saturation, Ctrl+B Colour Balance, Ctrl+I Invert and Ctrl+Alt+Shift+B Black & White each add an adjustment layer. Ctrl+Shift+L gives Auto Tone, Ctrl+Alt+Shift+L Auto Contrast, Ctrl+Shift+B Auto Colour and Ctrl+Shift+U Desaturate. While the editor is open it keeps the keys Chrome would otherwise use for something else, such as Ctrl+L for the address bar and Shift+F5 to reload the page.
Ctrl+F uses the last filter again with the same settings and Ctrl+Alt+F opens its box. While the editor is open, Ctrl+F does this instead of finding on the page.
Ctrl++ and Ctrl+− zoom in and out, Ctrl+0 shows the whole texture and Ctrl+1 shows it at 100 %. Ctrl+H shows the UV map, Ctrl+' the pixel grid and Ctrl+2 to Ctrl+6 all colours, red, green, blue or alpha. Ctrl and the mouse wheel zoom round the pointer. The mouse wheel alone, or a drag with the space bar held down, moves the texture, and Alt and a click on the ped finds the spot on the texture.
Ctrl+R shows the rulers, Ctrl+; the guides, and Ctrl+Shift+; turns snap on and off. On a Swedish keyboard ; is where Ö is. While the editor is open it takes Ctrl+R from Chrome, which would otherwise reload the page.
F10 goes to the menus. With Ctrl and Alt held, a key is read by where it sits, so AltGr on a Swedish keyboard, which Windows sends as Ctrl+Alt, never takes a key you type a character with.
Esc first takes back a stroke under way, then puts the eyedropper down and closes Replace colour, ends a mode of the free transform, then lets the selection go, and last closes the editor.