For the sole, I used the same texture again but with a color adjustment to make it darker.
For the sides of the sole, I have once again found a nice texture at CGTextures. It is a brown cardboard full of scratches which has a leathery look.
- Place the image below the cavity layer and transform it to match the elements.
- Delete the remaining texture, in order for it not to cover the other boot elements.
Boots texture 2
To add some scratches and worn marks to the boots, we will use the cardboard texture (Fig.28).
- Select parts of the cardboard with nice scratches.
- Copy and paste them on the boot texture.
- Desaturate the scratches image and change the blending mode to overlay.
- If necessary use the eraser to blend the scratches with the base texture.
- Create a new layer with Multiply blending mode.
- Select a noisy brush and pick a mid brown color.
- Paint around the boot in the areas where the sole meets the leather.
- Save as "boots_diffuse.PSD".
The procedure to create the eye texture is the same as in the kangaroo tutorial.
- Render the UV coordinates at 1024x512 inside the UVW Unwrap modifier, as we did for the belt.
- Go to http://freetextures.3dtotal.com/ and in the Human/Face section download the image "Face-6025.jpg".
- Open the image with the UV coordinates of the eye, invert and desaturate it and set the layer to multiply (Fig.29).
- Paste the reference photo in a layer below the UVs and match the perimeter of the iris with the UV coordinates.
- Select the left side of the white of the eye in the photo and mirror it to the right side.
- Paint the remaining area leaving the center whiter and the surrounding area in pink tones.
- Hide the UV coordinates and save as "eye_diffuse.PSD".
We have created all of the character's color textures. In the following and final chapter we will create the materials and light the scene. Some more textures will be created for glossiness and specularity as those have to be fine tuned with the light. I hope you have enjoyed the tutorial so far. See you in the next chapter (Fig.30).
To see more by Jose Alves da Silva, check out Digital Art Masters: Volume 9
and ZBrush Character Sculpting