Making of Ella

“Making of Ella” by Ziv Qual
Texturing

Uv mapping actually came before rigging. When I’ve reached the point I’ve decided the modeling is done, I’ve unwrapped the model before breaking the symmetry so that I only worked on half the model and this way I’ll get pretty symmetrical mapping as well. I’ve used Pelt to determine where the seams will go and together with a little bit of relaxing and hand pulling of a few UV points, the uv chunks were perfectly ready with only a few very minor stretches. After the initial mapping was good enough, I broke the symmetry and went on to arrange the UV pieces as efficiently as possible. Since fine details on the face are more important, I’ve decided to break the head from the body and give it much more UV space.
After making sure i’ve minimized the Stretches., had as few seams as possible and used up as much of the uv space as I can without having any overlaps I’ve decided its time to start painting the textures.

I started off by sampling many of the elements from the many reference. pictures I first used for modeling, I’ve then sort of “flattened” the image, took out the contrast and minimized the highlights and shadows, this gave me a rough initial background for the textures. Next step would be to paint the “shades” – where the skin is generally brighter, darker, redder etc’. At this point it was time for me to start working on the finer details. a method I’ve used allot for this was to create many different pattern layers for freckles, spots, veins and other skin abnormalities, add a black mask to delete it and then slowly bring it back manually with low opacity white brush strokes.
To create bump and specular maps I simply desaturated all the color map layers and changed their value and contrast accordingly, only minor local painting was required afterwards.

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