This includes several components like the sclera and iris which we will texture entirely with procedural techniques.

After all if the eyes fail the whole portrait fails. We’ll take our time with the eyes given their importance for believability. We’ll conclude this first version of the skin material by layering our baked data and adding procedural accents in the material editor.Įven though the skin is arguably the main event of this chapter, there’s still a bunch of other materials that cannot be neglected when it comes to photorealism. This is the only texture we will paint from scratch, if you can believe it. Ultimately they will be layered on top of a simplified skin color base texture which we will paint by hand. These serve to capture the geometric details of our hi-res sculpt as various image textures. After which we will bake several “utility textures” as I call them. Of course before we can paint or bake textures we must layout UVs for our head model, so we’ll do that first. It only requires Blender, a basic painting ability, and a detailed head model (like the one we made in Chapter 1 + 2) Hand-painted base color + baked utility maps Thankfully there's an alternative technique which I'm teaching in this course. This is a powerful method if you can afford to buy such photos. And mostly when it comes to texturing photo-realistic skin, artists rely on sourcing from photos: very high-resolution, polarized photos if possible. Skin is one of THE most difficult materials to get right in all of computer graphics. As you can imagine, the star of the show is the skin material. Chapter 3 is all about texturing and material creation - or “surfacing” being the common combined term since they’re tightly related.

Blender free textures