国外经典人头贴图绘制.docx

1、国外经典人头贴图绘制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 wh

2、y 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

3、 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 sk

4、in 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 a

5、nd 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 sh

6、ape. 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 lay

7、er. 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 texture in Photoshop is that it can always be changed. These color choices arent binding in any way- all c

8、hanging color requires is a simple play with the hue slider.Ballparkn it works.After the color was laid down, I smoothed it over with the smudge tool. In this case, to get a true smudge, I went into Brushes - Shape Dynamics, and unchecked Spacing. This makes the blend tool blend, instead of pushing

9、color around on the canvas (easier on your computer as well). Albeit, keeping Spacing on has its uses, but not in this stage of the game. Continuing work on the base layer, I stayed within the same colors, and painted up forms a little bit- mainly on the lighter end of the spectrum. The goal from he

10、re on out was to keep defining and refining. So there was a lot of painting, and just as much smudging with Spacing turned on, to easily push forms around.I have brought out the cranium, and defined the jaw line a bit more. The SCM muscle of the neck (side of the neck) was hit with the lighter skin

11、tone, as that is a major landmark of the neck.The upper and lower eyelids were quickly defined by running the lighter skin tone over them. Also brought out another area of importance- the fold of skin on the upper/outside of the eye, where the eyesocket of the skull recedes back in space.The bridge,

12、 tip, and sides of the nose were brought out with the lighter skin tone as well. On this part, I wanted to begin that sense of skin being wrapped directly over bone, which is why I have left the side of the bridge relatively darker than the rest of the nose. The notsril was quickly tagged with a dar

13、k rose color.A quick note about the rose color of the nostril: a dominant theme in my texture creation is to try and keep everything relative. For instance, I didnt choose the rose color by grabbing a color from my swatch pallette and adjusting from there. Instead, I eyedropped the pink from the und

14、erside of the nose, brought the value and saturation down, and adjusted slightly to higher magenta on the hue slider.I try not to introduce too many brand new things to my textures, as it makes mine look very random. Continuing work on the base layer, I decided the overall appearance was getting too

15、 light in value, so I gave it a little more base by sliding the middle handle to the right in the Levels window.Defining and refining was still my top priority at this stage. I began bringing out more landmarks of the skull. Using the Polygonal Lasso tool with feathering set to 4, I made a selection

16、 where the eye socket of the skull is. While this portion of the base layer was selected, I ran Image - Adjustments - Hue/Saturation, slid the hue all the way to cyan, and darkened it a bit. Immediately afterwards, I went to Edit - Fade Hue/Saturation , set the blending mode to multiply at about 5%.

17、 This whole process darkened the eye socket area a little, and moved the overall hue relatively to a higher amount of blue.To further bring out the eyelids and the bag under the eyes, I selected the mean of the newly created blueish skin tone, ran the value slider closer to black, and sketched them

18、in. To get the lighter color at the top of the bottom eyelid, I selected the same mean color, ran the value slider closer to white, upped saturation, and ran the hue slider towards magenta.The eye socket was defined more by painting a dark skin tone streak at the 5 oclock position of the socket.I qu

19、ickly landmarked the nostril and top of the chin by selecting those areas with the polygonal lasso tool (no feathering). Once those were selected, I used the smudge tool to push the color to the border of the selection (outside of nostrils, top of chin). Inversing the selection, and doing the same w

20、as done as well. The purpose of this was to get clearly defined areas that I can easily see while taking the texture forward.Smudging color around was done as I saw fit, to further bring out and enhance facial feature shapes. Continuing work on the base layer, I decided the overall appearance was ge

21、tting too pink in hue. To remedy this, I went in to the hue/saturation window and slid the hue bar closer to yellow.The ear was quickly defined by using the same light and dark skin tones I started the texture with. These initial hues are more to the magenta end of the spectrum, and since I just ran

22、 the base layer closer to yellow, it will make for some subtle variation.Other areas of the texture were lightened by using the light skin tone- mainly on the jawline and eye sockets. The jaw was reading as too dark and saturated (probably from the previous levels adjustment), and the eye was readin

23、g like my dude just got dealt a shiner. These areas were painted over with the airbrush set to a low (5-10%) opacity, as to allow old color to show through for more richness.After stepping back from the monitor and noticing that the texture was consisting predominantly of reds and yellows, I decided

24、 to briefly stray from keeping it relative. I ran up a light olive green color, and began adding it to some of the receded areas, using the air brush set to a low opactiy, and blending it in further with the smudge tool afterwards. Areas to note are the jaw, the front of the neck, the base of the sk

25、ull at the back of the head, the inner ear, under the center of the nose, under the brow between the eyesoket and nose, the nostril, and just over the top of the upper eyelid.The lips received a bit more attention: I defined the bottom of the lower lip with a stroke of the light skin tone. The same

26、was done to the top of the upper lip, to define where that form changes curve from the lip to the face.A new layer was made on top of the base layer I had been working on! With the polygonal lasso tool (no feathering), I outlined the shape of the upper lip and filled it 100% opacity with a dark and

27、saturated red. This layer was set to multiply, and the opacity of the layer set very low, as to just slightly darken the upper lip to give the illusion that it recedes into the mouth. This also makes a handy selection layer for later on, in case you are doing work around the upper lip and dont want

28、to effect it (inverse selection!).The inside of the nostril was painted up a bit with the light skin tone, to make it appear that it recedes up into the skull.Further smudging was done over the whole texture to further enhance form as I saw fit. The first step I made here was to create a subtle over

29、lay layer on the very top of the layer stack. This layer is nothing more than an even grain layer, meant to lend a subtle sense of tactility, and break-up the too smooth look of straight painting. If color is the cake of creating a believeable surface, surface detail is what makes the icing.The meth

30、od for creating this layer is real simple. Make a layer on top of everything, and fill it 100% with a gray. Run a filter - noise - add noise. I set my options to Gaussian and monochrome. The blending mode of this layer was set to overlay, and I dialed the layers opacity down in the neighborhood of 5

31、%.Next, I wanted to start bringing in some more color to the face. I decided to start with a little red in the cheeks and nose. I created a layer over the base layer, and painted a dark red over the cheeks and nose at 100% opacity. After smudging it around in those areas for a short while, I set the

32、 layer blend mode to soft light, and dialed down the layer opacity to somewhere around 8%. Keeping elements like this on seperate (but manageable) layers allows for easy adjustments down the road.On that same note, I did the exact same thing with the forehead; except painted a mustard yellow instead of a dark red.Next, I created an additional layer on top of the two soft light layers. On this, I painted a royal blue at 100% opacity on the beard and cranium ar