To start the texturing process I sorted my UVs into material IDs.
I applied a base of colour zones that I then set to multiply. This would be near the bottom of the skin stack.
I used a combo of skin material and my own curvature maps to create the skin texture. I wanted the roughness of the skin to be slightly varied for realism, so I added in my own roughness values.
I used a variety f noises on the makeup areas and skin areas to create roughness variaiton. I edited the noise with levels.
You can see how the skin is now more varied in roughness.
I created two curvature map fill layers - one fore skin crevices and the other for highlights.
With these I was able to make a more realistic skin texture.
I used the same techniques for the gum curvature highlights and crevices.
To give the teeth a little bit of texture I used a striped height noise with a blur filter.
This is the first sheet completed!
I started by creating a mask for the pupil and using a deep black with no reflectivity. This helped get the impression of depth and the eyeball will be covered in a glossy layer later on. I then created the iris using curvature highlights and crevices, before using the frost pattern alpha to get the thin lines on the iris.
The scelera had an off-white, red and yellow layer all stacked with different blending modes. FInally the veinswere added using a thin brush.
After baking the fingers however it was clear I needed to adjust the positions of some verts in 3Ds Max. I was really pleased with the bake overall.
I made sure to add a cloud noise layer for variation in the skin tone, which would contribute towards realism.
Curvature was especially useful for the creases on the hands, such as around the joints of the fingers and on the palms.
When making the alphas I used the alpha blending mode in substance painter and created an opacity map in photoshop. I was pleased with the results of the alphas, although it took a few attempts with the bake settings to get the correct appearance.
I started by texturing the netted shirt, which is made of roughspun elastic fabric. I expressed this mainly through the use of roughness variaiton to mimic cloth bumpiness.
The linen on the thigh was made by modifying a susbstance designer texture and adding a lightened tint on the end to show wear.
I really liked how varied the surface texture appeared.
To make the gold braids from the shoulder pad, I used the fibers 2 noise and twisted them, as well as adjusted the histogram position to make them more tightly bound together.
I used the brass material and edited the colour to appear more aged and added in some roughness varation on the metal.
I did the same with the necklace, but changed it to a dark gunmetal.
Here are the clothes alphas altogether.
I decided to move onto the props next. I finished off the lighter finally, and unwrapped it and baked it. I went back and forth a few times to perfect the bake, as some parts were messy due to bad smoothing groups.
I created a brushed aluminium effect and edited the length of the brush strokes.
I also added in edge wear using curvature maps.
I played around a lot with roughness values and wear on the metal, using reference.
I added in this oxidised effect inside the lid using layers of colour with different blending modes.
The worn leather of the holster was made using grunge masks. I added in two brass studs.
I used a similar anodised brushed aluminium for the spray can, and created the ribbed plastic top using striped height noise.
For the can label I made a parody of 1980s Aqua Net hairspray design in photoshop that I would apply as an alpha.
Using UV alignment I was able to place the label neatly. I used a glossy plastic material for the printed label.
To make the lighter more visually interesting I continued the use of the flame design from the jacket onto the body.
I went back and filled in the label title with black so that it stood out.
This is it for part one of my texture process. Please read the next blog for part 2.