- Collecting References
- Background Templates and Key Facial Zones
- Step 1. Creating the Initial Design
- Step 2. Dividing the Work Into Zones
- Step 3. Plotting Points in 3D Space with Rail Molds
- Step 4. Developing the Cage Further with Key Facial Zone Object Rails
- Step 5. Modeling Isolated Key Facial Zones
- Step 6. Connecting the Key Facial Zones Together
- Step 7. Creating the UV Map for Painting
- Step 8. Mixing Mediums for Texture Creation
- Step 9. Applying the Fur
- Step 10. Fur Combing
- Step 11. Fur Coloring, Shading, and Shadowing
- Summary
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Step 9. Applying the Fur
Now that the textured surfaces are satisfactory, the next stage is the application of the fur. Again, before starting anything, it makes sense to collate a bit of reference material like the piece seen in Figure 11. It helps to break down the complexity of it all. Besides the obvious properties of specular and diffuse attributes, there can be many aspects to the fur going far deeper than your initial perception of how you think it should look.
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Figure 11 The face fur reference.
Now that you have a clear idea of some of the properties to expect from the fur, you can work out key regions for certain types of fur. My Pan example contains 16 separate regions for the fur, which are highlighted in Figure 12.
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Sasquatch did have the ability to achieve mass variations for every attribute, all in the one displacement handler. It did, however, also boast the ability of unlimited handlers, which interested me. It made sense to try out the later of the two, especially with regards to facial fibers. This simplified things more than I could have imagined both in regards to combing and fiber variations.
Figure 12 The head and body showing various fur regions.