| Modeling the Eyelashes and Eyebrows |
|
|
| The
eyelashes and eyebrows are easy to
model but take a very long time to
place correctly. In essence, each
hair is placed in the eyelids and
brow of the head. If you have the
patience, then it is recommended that
you model these. One could use hair
generator for the eyelashes and an
image map for the eyebrows but these
are usually inferior to making actual
hair models. |
| Modeling
the Eyelashes Steps |
 |
Fig.
7-19 Eyelashes Step
1. A single eyelash
is made from a long
divided three-sided
pyramid and then bent.
It is shown here in
both low polygon and
subdivision modes. |
|
| Step
1 (Figure 7-19). Create
a long 3-sided box with
the points on one end
welded together. Bend
the object so that the
tip is on top. Duplicate
the eyelash several
times and shape them
into a variety of sizes. |
| Step
2 (Figure 7-20). Refer
to closeup photos of people’s
eyes as you place each
eyelash into the upper
and lower eyelids. Although
this process may seem
tedious and too time consuming,
if it is done right it
will be worth it. Rotate
the eyelashes so that
you have variety. Some
will bunch up and overlap
while others at the corners
are more sparse. When
you finish the upper and
lower eyelashes, mirror
duplicate them for the
other side of the face. |
|
|
|
Fig.
7-20 Step 2. Placing eyelashes
one at a time. Mirror duplicating
the upper and lower eyelashes. |
|
| Modeling
the Eyebrows |
 |
| Fig.
7-21 The eyebrows after placing
individual strands. Only the
ends of the hairs should penetrate
the head. |
|
| Figure
7-21 illustrates a pair of eyebrows
modeled from individual strands. You
can use the eyelash objects to make
the eyebrows. Make these longer, straighten
them a little and then bend them sideways
slightly. Refer to closeup photos
of eyebrows as you place each hair
on the brows. Placing single hairs
like this could take several hours
or more so have patience. |
| |
|
Fig.
7-22 The face before and after
adding textures. |
|
| Texturing
or surfacing techniques will be covered
in more detail in Chapter 10. Since
we are in the process of finalizing
the human, it is more appropriate
to discuss texturing the model in
this chapter. Figure 7-22 depicts
two views of the same female, one
without and one with textures. |
| UV
Mapping the Face |
| Imagine
an object with grid lines running
horizontally and vertically. When
one line intersects another there
is a point. Let us say that you have
a texture that you want to apply to
this object. The most accurate way
to put on this texture is to draw
the same amount of grid lines over
it and then place it point by point
on the object. The location of the
points on the texture correspond to
the same ones on the object. This
in effect is what UV mapping does.
It is the most accurate method for
surfacing an object. |
| Projection
techniques for surfacing are limited
to the x, y, and z planes. Therefore,
they do not work very well for organic
type of objects which often have a
mesh running at angles to these 3
axes. Since UVs are in effect pinned
to the mesh, they conform to the various
directions that it takes. |
| When
you create a UV map, it flattens a
rounded or angled surface. A picture
of this flattened mesh is brought
into an image editor. A texture can
then be applied accurately to the
image of the UV mesh. |
| A
3D paint program can also be used
to make UV maps. The model is painted
and the software remembers which pixels
were applied to which points on the
mesh. |
The
following instructions show how
you can make a UV map for the face.
UVs will also be used to texture
the iris and eyeball. |
|
| Step
1. Assuming that the face of your
human is looking toward you in the
front view, select all the polygons
on the forepart of the face. This
would mean from the forehead and a
little below the chin and in front
of the ears. It should resemble the
shape of a mask. Name these polygons
“UV Face”. |
| Step
2. Hide everything else except for
the UV Face polygons. Create a new
UV texture that is planar on the z
axis. In your UV window, you should
see the mesh flattened. |
| Step
3. Make the UV view window as large
as possible and perform an image capture
or print screen of the flattened UV
map. |
| Step
4. Paste the captured image of the
UV mesh into an image editing program
and crop around it. If you need to
make the image more vis- ible, turn
up the contrast and then invert it. |
| Step
5 (Figure 7-23). Add a transparent
layer on top of the captured UV mesh
image. You can now paint the different
textures of the face over the UV mesh
picture or sample from a photograph. |
|
Fig.
7-23 The UV maps seen as layers
in an image editing program. |
|
| Step
6. Create an overall seamless skin
texture. You can do this by sampling
an even surface from the color image
of the face. Copy the selection and
paste it into its own document. Make
the image seamless by using a filter
such as Offset. Define a pattern with
this seamless picture. Make a new
layer on top of the color image map
of the face. Fill this layer with
the skin pattern. You can use this
skin surface on the rest of the nude
model. |
| Step
6. Select the outer edge of the color
face that is in your 2nd layer. Feather
the selection and delete the color
image at the edges. Place the over-
all skin texture that is in the 3rd
layer underneath the 2nd one. You
should now see the overall skin blending
into the color face at the edges.
Blend the skin color into the color
face by cloning from it so that the
transition between the seamless skin
texture to the face is smooth and
even. |
| Step
7. Merge the 2nd and 3rd layers (overall
skin and face color). |
| Step
8 (Figure 7-23). Create a 3rd layer
on top of the layer with the UV color
map. Fill it with black and lighten
parts of the face that will look more
shiny. This layer is your UV specular
map. Lessen the opacity of this layer
so that you can see the UV wireframe
layer underneath. You will also have
to hide the layer containing the UV
color map. Now that you can see the
parts of the face in the wireframe
face layer start lightening sections
such as the forehead, lips, tip of
the nose, and front of the chin. |
| Step
9 (Figure 7-23). Copy the lips from
the UV color map layer and paste them
in a new layer on top of the UV specular
map layer. This will be the UV bump
map. Increase the contrast on the
lips and make them grayscale. Bump
and specular maps do not register
as color maps. Increase the visibility
of the lip texture so that the bump
map has more distinct lines in it.
If you want to make other creases
on the face then paint other lines
in the UV bump map layer. |
| Step 10 (Figure
7-23). You should now have UV bump
map, UV specular map, and UV color
map for the face. Copy and paste each
of these into their own document and
save them. Create another document
that is the same size as the other
face maps and fill it with the overall
skin pattern. Save the seamless skin
pattern. |
| |
| |
