Now it was time for the UV creation. I felt that Maya had better UV tool thanany of the other programs at my disposal. Although the model was "just a head", it posed some challenges for the UVs. A simple cylindrical or spherical map didn't work well, since Hoggle had such unusually shaped head and bulbous nose. Texture stretching was inevitable in the most seen places, even with liberal "UV relax" commands used. This was worked out by creating a number of planar maps, carefully aligning and stitching them. I managed to push most of the texture distortion to the back of the head, where it would be hidden under hair and the hat.
Having worked out the UVs, it was time to have some fun again and paint texture maps. I started with the displacement. The base mesh was exported back into ZBrush, and the polygon levels increased. I didn't go too high, since I knew that the rendering program I was using (Lightwave) couldn't handle high levels of displacement. Finer details would be done with bump maps. (there are numerous tutorials and suggestions for the displacement step at ZBrush central
After this, the color, bump and specular maps where painted in ZBrush, with some adjustments done in Photoshop.
Hoggle's facial expressions were made in Lightwave. I like the way this program stores the morph targets within the model itself and it's morph airbrush tool, which allows you to "paint" parts of one morph into another. It makes it easy to quickly make new shapes.
The hair was done with the plugin Sasquatch from Worley labs
. G2, another Worley creation, was also used to help with the skin.