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Specular map:

With the Bump map done we can now get on and create the Specular Map which will be similar and corresponds with it in many ways. The first step is to copy and paste the base layer ( same in both the Diffuse and Bump Map ) into our new Specular template ( also a greyscale ). Then alter the Brightness to about -50 or thereabouts and copy and paste the Highlights layer from our diffuse Map into the file and set it to Soft Light and then Merge the two layers. Then alter the Brightness and Contrast until you get something resembling the image below.

Next we need to paste in our layer of wrinkles which we can also get from our Bump Map ( this is why it was worth spending time on it getting it right ! ) or as in this case I used a slightly modified version ( see image below).

You will also notice there is an additional layer called Lips which I made to put extra detail on the bottom lip and when we assign our Specular Map to our model along with the Bump Map you can observe the differences in the image to the right

Refining the Diffuse Map:

Now that we have both the Bump and Specular Maps it is a good time to start and polish our Colour Map and begin working on some of the final touches. If we apply all three maps to our character and render it out we can see how they combine in the image below. As you will have noticed from the previous exercise we built up our Specular map from already completed layers and we can now further duplicate some of our Bump Layers for use in our colour map mainly the Highlights we created.

We are now into the final phase of the texturing the head and all that really remains is to add some finishing touches around the features, the first of which are some shadows around the Wrinkle Highlights layer which will be set to Multiply. I selected a predominantly orange colour for this with an RGB value of 182, 105, 39 which you can see again set to Normal mode on the left of the face in the image below compared to the final version on the right. This layer is used primarily to emphasize the wrinkles around the eyes and add another colour variation across the skin. To suggest that our character is not quite as hygienic as us humans it is worth putting in some stains and extra blemishes around the nose, eyes and particularly the lips which we do on a layer again set to our trusty Multiply mode.

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Finished:

This tutorial has demonstrated one approach to modelling a head but is by no means the only or indeed best way to deal with such a subject. Depending on what one requires from the model and its application in a scene or animation, governs how best to go about tackling the exercise and so in this respect the methods I have attempted to convey may well prove more ineffectual than others in some contexts however they are principals that can equally apply to a number of different projects including character creation. The Polygons on our model could be re-configured to follow a similar flow to the muscle groups of the face which would be beneficial if animating and surely aid in any deformations but what I have tried to do is lay down a few simple techniques that can be universally applied and contribute toward producing a neat and tidy mesh. Anyway before I forget here is a render of our final model which is now ready to be put in a scene with some lighting. If we wanted we could improve it somewhat by moving some of the verts either side of the face so he is no longer symmetrical and also manipulate the horns so they are not so straight and perfect (below image) ).

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To view the Modelling and Mapping part of the Training DVD please follow this link