国外经典人头贴图绘制.docVIP

This tutorial is not so much a step-by-step guide on how I create my textures, however more of a play-by-play commentary consisting of a breakdown, describing the phase of the texture I captured at that time. The annotation per frame consists of a complete explanation of what I did, and why I chose to do it. If there are a million ways to skin a cat- please think of this as only one of them... Below is the first phase of my texturing - a step I do the same no matter what kind of texture Im creating. The starting format is one black background layer, one crimson red layer, the UV layout of the geometry, and my dark marking lines on a 4th layer. When painting alive human skin, I always begin with a base layer of crimson red as a quick representation of the blood beneath. As I build color layers on top of this, I feel that the red always shines through, even if very little, giving skin a plush coloration. 90% of texture creation rests in nailing the colors, and this step seems to always help me get there. I use the overlaid UV layout as a guide for my dark (never black, always dark dark blue) guide lines which show me where the landmarks of the face are. Its a process of trial and error - repeatedly checking the layout of the lines on the model until I feel they provide a solid structure for me to move forward. This particular case took me a handful of times to get right. I usually mark sections of the face with lines, and areas thatll receive lighter tints with a closed shape. Below is the second phase of my texturing - coloring in the lines! This stage required the least amount of thought, as all the thinking had already been done (drawing lines on the face). All I did here was make a couple skin tone swatches (a mid and light tone), and paint on top of my blood layer. Im now going to refer to that layer as the base layer from here on out. As you can see, the crimson is still showing through; more-so in certain places. Something to remember about working a