In this lecture, we'll be painting some details on two big parts of the org.
I'd encourage you to experiment with this one and have a bit of fun with color and play around.
This is another chance for you to make your character something individual to you.
So here's what we got two last time.
And I want to add a bit more detail to the orks body.
So I'll out left click on the org and that previous mode was object mode and our press control tab and
change it to text my mode.
And you can see that's changed up here.
Now, what would be helpful if I move in just a touch here.
You can see there's a highlight from our cavity map on the edges and it goes dark in the crevices.
And like I say, that's our cavity map over here coming into the mix node with the overlay causing those
light and dark areas.
And remember, I can control shift left, click on these at any point to see the effects or just that
node on its own because it goes into the viewer node.
I want to go back a control shift left.
Click on the principle be STF.
Remember, you must have the node wrangel add on enabled for that to work if you haven't enabled it
to go to edit preferences.
Add ons type in no wrangler.
And make sure it's taked.
But I think it'd be really good to increase those just to touch to help our colors out.
So I'm going to move this across slightly and press shift data add and we're going to add a color ramp.
You'd think it would be under color, but it's actually under convertor.
And then Kalorama, I can then place that between my two nodes at the moment.
You'll notice it's not making any difference.
And I compress em over that node and it will mutate and m again and unmuted.
And as you can see, it's not make any changes.
Let's zoom into this.
Just a touch.
Now what I can do is bring up the black slyly.
He can't bring them too far.
I bring to Fi can sort of see some banding going on here.
It's very slight and very faint.
So you don't really notice it too much, but you can see it a bit more around the chin there.
I believe the reason for that is to do with image compression and so forth.
So you just have to be a bit careful with how far you go.
But we can also bring down the whites.
As I was bringing up the blacks.
You probably noticed the whole thing went darker.
If I bring down the whites now to somewhere around there, we're getting a bit more of this cavity detail.
So, again, if I press M to mute, you can see it without and with it a subtle change.
Just offering a tiny bit more detail to those different areas.
So I'll zoom out of that.
Now, before I start painting again, I must make sure that I've got the color selected.
And that's at the top just here.
So, OK, color, it should select over here as well.
If it doesn't, then you might want to just change your mode from layout back to texture paint.
And it should be selected then.
I believe they've sorted out that bug now anyway.
So with that selected, I'm going to go to my paint brush this time and start painting in some colors.
Now, I'd like for the bobbly bits to have a slightly different color from the rest of the body.
And I'd also just like to help the cavity map a little bit by highlighting some areas of his body that
will catch the light.
So once again, I can't stress it enough.
Make sure that colors selected over here and over here before you start painting.
So you don't paint on the wrong map.
So I scroll down a bit.
We can see that I've still got my palettes here.
And there's the original blue that I used for the body.
You can make these icons a bit bigger by control, middle click and drag, and you can make them a bit
bigger and smaller.
It helps to see the color wheel a little bit easier.
So at the moment, it's off towards this sort of turquoise, the area in between the green and the blues.
And I'm going to shift it a bit more saturated and a bit more blue.
So somewhere around there now we will need to think about the strength in this case.
What I'm going to do is just bring out this slightly more so you can see it a bit easier and bring these
over just a touch, because we won't be moving anything around here so much anymore.
So my strength is at one end for sort of big blocking out areas.
That's okay for the moment.
But if you need to change the strength, then it's shift F and move your mouse left and right.
I'll keep it at one and F to resize your brush.
So the same as sculpt mode.
Make sure the colour you want is there.
It might be worth checking that you've got in your options your bleed set to for which we change last
time.
The only other thing to look at as well is symmetry.
We've got a symmetry option here.
We've also got it at the top.
If I scroll all the way, we've got symmetry here as well.
And I'll be symmetry rising in the X axis because our model is symmetrical in that way.
So I make sure the X axis is ticked.
I make my brush a bit bigger now and I start painting in these areas with that darker blue.
So I'm being fairly rough at the moment except when I get to the edges.
Just taking a tiny bit more care not to go to too much over.
Now, you might want a real experiment with color.
And I'd encourage you to do that.
Have a go, have some fun.
You can always press the undo key.
And at any point you think, oh, that's dreadful.
That's really gone wrong.
You could always image and reload the previous image and that will take you back to the save area.
So I paint his legs in the same way.
I'm not going right onto these tiny dots.
I want to paint those with a different color.
And also, it's worth saying that you can see it's being mirrored across the other side.
Now, what you have to watch out for a bit and don't follow along with this, but if I paint on the
arm here, I can actually hit the body as well.
And you can see a sort of line across there.
You have to watch out for that sort of overlap if you do that by accident.
Remember, you've got your palettes here to choose the colors from there.
Now, before I do that, I'm going to quickly had this one that I've created to the palette with that
plus science and that's there.
Go back to the old one and then I can paint over this area here.
It is actually very slightly different colors.
I get to sample it again.
And just painted in, and that's a bit better and closer.
So just watch out for that.
I'm going to add that to the palette, which you can see is a bit lighter.
And I'm going to click on this one and remove it.
Remember when I was sampling before in different areas, you do get slightly different results dependent
on the light.
So I'm just adding that bass blue and it's already it's starting to make the character come alive a
bit more.
There's other areas that we use to add some color, too, like the nails as well.
I've got this ivory color here, which is over here, and I can click on that and I'm going to come
down, but I'm going to make it a darker ivory.
So it's a bit more gray.
Make my brush smaller and just fill those in with the color.
Now, we haven't really concentrated on the underside of his feet, but I'm just going to sort of cut
them off like that.
And I think that's fine.
And you'll notice that when you're painting the cavity map again is doing the hard work of all the shading
were just blocking in some colors.
So I do want to add a bit of detail to some areas, like the spots around here, maybe even his nipples,
and a touch of highlights on his face.
But before you do that, it's helpful to do a tiny bit of shading to help along the cavity mask.
Now, if you don't feel so comfortable with the artwork side of things, then I suggest you keep your
strength of your brush very low, stay somewhere around point one and just do this very lightly and
gently to get the idea.
I'll go to a round point to be a bit more confident with how much to add, but just keep it a very subtle
effect.
So I want to paint in some shadows around here and just under the belly and any places where I think
there needs to be shadows.
Maybe the underarms as Worland and the groin areas and under his chin and generally just choosing a
darker color of what you have already with the tone over here is a great idea.
Will work fine.
I like to go a touch more saturated and maybe change the colour as well, bit more into the deeper blues
as you tend to find that shadows are a bit like that.
So I brush a bit bigger, but remember a low strength for this one.
And just very gently shade in some areas.
You can hardly see the changes are making at the moment just under the chin.
Also, I forgot to mention that I've got Penn pressure on, so I'm using a graphics tablet and I'm pushing
lightly.
So you might even need to go lower than point one if you've got Penn pressure turned off and you're
using a mouse.
So if you've got a graphics tablet, then you can brush fairly lightly the change of the strength.
So just lightly in these areas that you might see some shadows.
You can do it the side.
But remember, it is mirrored.
So shadows under this area here, of course, and around the bottom, the feet and just a subtle effect.
So you can hardly see it, but it is there.
The underside of the face, some shadows across there.
And then we can go into the face and around the eyes.
We can create some shadows underneath the nose and underneath the lip.
Now, with the shadows, what you're thinking is that the sun is coming from the top.
And generally we talk about the 12 o'clock lighting where the sun's directly overhead and it's casting
shadows down.
So any area that won't catch too much light.
I know we animated to be moving around, but generally speaking is lit from the top.
And that's what we're thinking with the shadows.
So just gently going around.
Adding just a touch of shadow, which you can see there, any crevices, you can just add that little
bit more shadow crevices in here, maybe the underside of the hand.
And even in these areas just attach.
So it's only minor, but it just offers that little bit of shadow helping out our cavity maps.
Now we can do the reverse, which is adding the highlights.
So, again, I find that base color, which is there, I bring the brush a bit lighter.
He might like to come this way to the greens or even the yellows for this one for a bit of a highlight.
Jimmy, they're slightly warmer colors and we got cooler colors there as you have warmer colors in the
brighter spots, cooler colors in the darker spots.
If you're a bit worried about color, then just go a lighter tone over here and that's fine.
Again, nice, low strength.
You'll want to go lower if you're using a mouse.
And the most obvious place the sun is going to be caught is on his top of his head here on his nose,
of course.
And these obvious bits like the top of the lip around his chest there.
He's got lots of fat across the top of the stomach.
His shoulders will catch a fair bit.
The biceps bulge out a bit there and the top of the forearms and you can see we've added just a little
bit of depth to our character.
Again, if you don't feel confident with this, don't worry too much.
Try it out of it doesn't work.
You can always go back to where we were and just fill in those bubbly bits and you'll be fine.
We still got enough information from our cavity map for it to look quite good.
So we've managed to add just a bit of detail to make the character come to life a bit more.
We've also added our colour ramp to push out those highlights and bring in those cavities just that
bit more as well.
So your challenge then is to get up to this point?
Again, it's really important to say don't be discouraged if you're not an artist.
You can't just rely on that cavity map, but definitely give the color ramp.
Go and see how far you can push those cavities.
Of course, just try simple blocking out of the colors of the bumpy areas and maybe the toes for now.
And we'll talk a little bit more about finer details in the next lecture.
So the last point, of course, is make sure you go across image and save your texture and then save
your file ready for next time.