For the other elements, I focused upon creating “imperfect realism” when it came to the prop models and the environment (broken edges, scattered objects, and grass). I paid a lot of attention to placing of my objects, creating depth in the scene, and matching the composition of the original oil painting. The main high-resolution models can be seen in (Fig10 - 14).
(Fig10)
(Fig12)
(Fig13)
(Fig11)
(Fig14)
UV's:
I set the UV according to the normal method. I prefer to finish all of the UV process in Maya, because Maya’s new version contains a powerful UV function. I used Cylindrical Mapping for the head’s UV, and I mixed methods together for the UV of the other elements. You should pay close attention as to whether UVs are good or bad, have a direct relationship with drawing textures, and so on. I often let the parts which can be seen take up more UV space, although this won’t work for cartoon styles. You can also use other UV tools, such as DeepUV. See (Fig15 - 19) for the main elements of my environment.
(Fig15)
(Fig16)
(Fig17)
(Fig18)
(Fig19)
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Texturing:
My works all have a realistic style, so there is much work involved in the texturing process. Almost all the textures used for this character were 3072 by 3072. Because there were so many things in the environment I decided to use small textures for the objects in the distance, and for some less important things I just used a Colour map, and no Bump map. First of all, I created the Colour map by hand painting, and used some photographs in Photoshop. Colour maps require care and attention because there are so many pores, patches, veins, muscles, and bones below the skin, and so the skin’s colour has many changes and variations. When I finished the Colour map, I desaturated the colour and made the Bump and Specular maps. I then changed the tone and details of the Colour map to the Epidermal Scatter Colour, Subdermal Scatter Colour, and then changed the Specular map to the Reflection map. I also overlaid a Noise map on the Reflection map so that the Refraction map looked more random. I achieved a very detailed Normal map in Mudbox by using a high-resolution model. I used body paint to remove texture seams and made all other textures in the same way. The main textures can be seen in (Fig20 - 22).
(Fig20a)
(Fig20b)
(Fig21a)
(Fig21b)
(Fig22)
In addition to all the above, I also have my own texture collections to satisfy my special requirements. (Fig23a - 23b) shows my “storeroom” of plant textures, and all other textures used for this piece.
