Original subtitles

Hello and welcome to this chapter.

So in this chapter, we're going to get into texturing and texture painting our character.

We're pretty much done with the entire model sculpting phase.

All the UV unwrapping has been done for both the items and the body.

So we're in a really good spot to move on basically.

And the texturing is going to happen in two phases.

So the first part is going to be us doing some quick poly painting or sculpt painting

in here in Blender with the sculpt tools.

And then when we have that, that's going to be our base for everything that's going to

be the foundational kind of color.

And that's just because we can be a little bit more free and kind of more explorative

with the poly paint tool because it's a bit faster.

And then we can start breaking things down with textures in the shader editor or something

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like that.

And then also baking our maps and these things.

So that's kind of the two phases it's going to happen.

And for the first phase, we're going to start out with putting a base color on all the different

items.

Probably except for the rope, the rope we're going to do separately.

For the rest of the stuff, we're definitely going to do something like that.

We might switch over to the vertex color.

We'll see that depends on each item using vertex paint, vertex color paint or something.

There's a mode for that in Blender.

If we need to select some stuff, that can be faster than doing it in poly paint.

But for the body, for sure, the poly paint is faster.

So it's very crucial when we get into the poly painting stuff that we set up our body

correctly.

And that's because with painting on vertices instead of painting on the texture maps, you

are directly applying color to the vertices.

And that means your resolution for coloring is based on the resolution of your mesh, right?

And that means you want to have this as high resolution as possible.

But there's one problem with it.

It doesn't work with the multi-res modifier.

It only works on the lowest subdivision.

It doesn't work on the highest subdivision.

So we will have to essentially set our multi-res to the highest one, then apply it, and then

reconstruct the subdivisions using the multi-res modifier, using this unsubdivide feature over

here.

But that's fine.

We've done that before and there should be no problem with it.

But it just means you can't change your model because it's going to ruin your ability to

unsubdivide.

So if you're painting, you need to kind of be like, that's the state I'm in.

And yeah.

But you can always grab a copy.

Just have a backup.

I like doing that.

So there I got a backup.

So I'm going to call this one body backup, like that, and then I'm just going to hide

that one.

And then I got my body there.

And this one I'm going to set to, I don't know what the highest is I have.

Is it four?

I think so.

And then now I'm on, yeah, I'm on a lot of subdivisions here.

Looking at the body there, that looks pretty high resolution.

I don't think there's any higher here.

Nope, four is the highest I have.

Cool.

And then I'm simply going to apply this one.

And then now that body is just, you know, high resolution and I can start vertex painting

on it.

So I'm just going to turn off random colors and set it to attribute instead.

That means it's actually going to show color.

And I did a little test already just to see if the colors are kind of working on this

one.

I'm just going to go ahead and delete those.

So by default, everything is just completely neutral and white.

And I'd actually recommend going up to the viewport shading here and then to studio and

then switching it to this one.

This one's a bit more neutral in color and it shows off the color a lot more naturally

than the default matte cap there.

This one is quite good, but it still gives you some definition, but I think it's quite

nice for applying color.

So I'm going to keep that one on.

Then I also want a reference for my color.

And I actually have a concept piece on PureRef from the initial concept that has all the

colors without the shading on it.

And I could use that reference directly to color pick if I wanted to.

And that could be really, really, really handy for doing the color stuff, because then we

could get really, really close to the actual concept.

We could also, you know, do colors from the ground up, but having a reference can be really

handy.

So I'm just going to find it over here.

It's, oh, actually it's placed somewhere else, it's placed over here.

I'm going to pull this in.

I'm literally going to pull the image into the view here and then I have that concept

piece there.

You could also place it in an image viewer in Blender, but I like just having it in the

scene.

For me, that's more handy.

I'm just placing it like this.

So this way I can actually color pick the different stuff that I might need to.

So I'm going to start off with applying a base color to every single item.

I'm going to start off with the body here, so I'm going to come into a sculpt mode.

And then now that I'm in sculpt mode, I am going to go over to this thing here called

color filter.

So color filter applies something to everything that is currently selected, and right now

everything is selected.

And you can set different modes here, but fill is the one we want.

And then I want to select a color.

I'm going to select the eyedropper here, and then I'm going to go over to the body and

just select the body color.

It looks like it's not really selecting it.

There we go.

So that's the body color I want.

And then if you start dragging with your left mouse button here, then you can see it's applying

that color to the character.

And then we're getting essentially that body color.

And this has a little bit of shading, but you can see if I go to flat, it's fairly close.

You can of course adjust it here to see what you're getting.

Something like that maybe.

Maybe that's better.

Trying that color out there.

A little bit brighter.

Probably that's hard to see, but yeah.

And then back to Studio.

So that's why I like this one.

You get kind of a close approximation to see what's going on.

Very nice.

Then I'm going to go to the cloth here, back to sculpting mode, and here's our selection

from last time.

I'm going to take the face sets and just, can I remove all the face sets here?

How would I do that?

If I select the face set one and yes, I'm holding in control here and just painting

on top of these ones.

I don't need those right now.

There's probably a way of doing it a little bit faster, but this works just fine.

Cool.

Then I'm going to go back to the color filter, select a new color like that, and just drag

onto this one.

And then I now got the blue skirt.

Then I need the helmet here.

I can select that over here like that.

Sculpt mode onto the helmet.

Then the helmet also will get the color filter.

So we're going to select something, that color over there, which is pretty good, and

just coloring that in as well.

Then selecting the hood here and just going through each item like this, like that.

Then we got the belt.

The belt is a few different colors, but I'm just going to color it this base brown for

now.

So I have that.

Let's see if that makes sense for us.

We could probably also go in and do some selection, but that's where it's a bit simpler in the

color vertex paint, I think, to select different areas and then vertex color them like that.

Then we got this one color here.

Also just giving it a base like that.

And it looks a little bit dark over here, but we're just going to keep that in mind.

And then we got the scabbard.

And let's see, we got some kind of color here as well.

Let's see what we can put in there.

That seems pretty good.

Then we got the sandals also, sculpt here, and something along those lines.

And then we have that undergarment, underpants thing here, and I think that's probably going

to be a new color, maybe something along those lines.

Something not too revealing.

Cool.

And then we got a base color on those things, and then we could also do one for the sword

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if we really wanted to.

So let's say that we want to get one for the blade itself.

Then we have that.

Awesome.

Okay, nice.

So now we got a good base color for these things, but then we want to separate out some

of those materials if we can with our colors.

And I think that might be easy to do with the vertex color stuff.

So let's check out how we might tackle the belt here.

If we open here and then go into vertex paint, then we can select areas like these ones,

these ones, these ones, and then we vertex paint, there we go.

And then we can select a color, select that gold color over there.

And then there should be a way to say only paint mask, face selection masking for paint.

So now it'll only paint on this stuff here, and then we can just fill this out basically.

Let's fill that out.

For some reason it's not painting on the front there, that's a little bit strange.

Maybe if I set it to the other one instead, no, okay, maybe that's a bug.

Is there like a front faces only?

No, okay, so front faces only.

That seems to be doing thing.

Is that suggesting that maybe there's some face orientation issues?

Let's just check that out.

Yep, that's why.

It's because there's these ones were...

Let's flip those.

There we go, actually.

Let's turn that off, that was a mistake on my part there.

No bug.

And then we can paint these ones in and separate them.

And you know, you could also mask these out in a sculpt vertex paint, but I think this

just means I can select them like this, which is just a little bit faster.

And then I can go here, go to vertex paint, and then I can select that metallic color,

and then I can quickly paint these ones out here.

And I'm just using the mouse right now, I'm not doing anything really crazy, but I might

shift over to the tablet when I'm doing the skin here.

Okay, nice, we got that there.

Then we got the scabbard, and we've got some little latches also right there.

I mean, maybe it would make sense that they're leather actually, I think I kinda like that,

that they're just leathery thing.

Let's try that.

So we get this one, vertex paint, and then color here.

I could also just color pick that one, and then do the selection thing again here.

There we go.

Nice.

Then we got this one.

And here we are doing a little bit of a different selection.

So let's see what we got.

Kind of have a bottom here that's probably gold, could hit this one and press plus, and

plus one more.

There we go.

Plus.

Like that.

Hmm.

It's a little bit of a selection job here because we got some beveled edges, but I still

think it's the faster way of doing this.

Like this, and like that kind of.

I'm just going to paint those in whilst I have them.

Oh, there we go.

Well, they actually seem to be affecting, right, because they're sharing vertices there.

So that's why it's affecting it, right?

So these vertices are shared in those corners.

So that's kind of the limitation of vertex paint in that sense.

It might be easier to then select the leathery stuff almost.

I'm going to try doing the reverse here, where I color in the whole thing with this, with

the gold, and then I select the leathery stuff here instead.

The brown stuff.

Yeah, I think that's easier.

Setting that up here with the vertex paint, and then getting the same leather color.

Oh, it seems to select it.

Yeah, I think that's a lot simpler.

I think that actually got the whole thing.

And then these little latches, they are also like that.

I'm going to get these ones also and make them also leathery.

Yep, got that.

So that's the scabbard there.

That looks pretty good.

And then we can get the sword here.

And that has kind of the most bits.

So we got the metal there, and then we got a lot of little gold pieces here and there

that all need to come together.

Okay.

Okay, maybe not.

Or we could actually, let's just do the whole thing.

Like this.

Like that.

And then also this one.

And then back to vertex paint.

And then I need a color.

Select that one.

Can select that one maybe.

Got to get that one.

That is selected.

And then we have some variation.

Actually, I have a concept for the sword here on the side.

It looks like it kind of has that wood piece and that wood piece there.

We got to figure that out.

So we got this wood piece, and then the top becomes a wood piece.

Maybe if I just do like that.

And like that.

Yeah, I think if that is wood, that kind of makes sense.

And then weight paint here.

Then select a color for that.

I could also just color pick it.

Like that.

And then color that in.

Nice.

Yeah, I think that works.

That looks pretty good.

And then we got that skull, of course.

We got the rope and the skull here.

Can also get some.

I can just get it in here.

Set fill.

Like that.

Oh, and this one has the multi-resolution stuff on top of it.

It's just going to be one uniform color.

So I think what we can do is actually go to the lowest one here.

And then just fill that out.

And that will be fine.

And it will try to make the low resolution work for the higher ones still.

But so when you're in the viewport, you can see that even if this is higher,

then it will still try to apply that color.

So it should work.

But it won't.

It will be that low resolution one, so it's not quite ideal.

Okay, then we got a base for everything.

Then we got the rope.

I think it would be nice to see the rope with a color.

So I'm going to go into the shading editor here.

And then continue on this little rope design that we already were doing.

And then I have that pattern already.

I think I'm just going to keep that.

It seems to be working for both of them quite nicely.

So I'm going to grab a mix.

I'm going to take the color here and put it into a mix.

I'm going to set it into as the – no, actually grab the factor.

Set that as the mix factor.

Mix RGB.

Mix RGB.

Hmm, where is the mix?

Is it called mix?

Did they change it?

Combine color?

No.

Mix.

Okay, it's just called mix and it depends on the result that comes in.

Okay.

This should be called mix RGB.

Like that.

And then we can have a color kind of more akin to the brown values that we had on the other one.

Something kind of like a leathery rope.

Something like that.

And then we could adjust this if we wanted to.

Like the actual falloff here.

Maybe that's too – maybe the cutoff is too harsh or something like that.

We could do a little bit of distortion if we wanted to.

Give it some variation.

But it's so far away you would never be able to really feel that.

But it gives it a little bit of variation there.

Come back here.

Then obviously we don't see that, but we know that's what it's like.

What we could do is we could go over to viewport display maybe and give it a color.

Just to see the ensemble.

Then it has a color a bit more aligned with the other stuff.

Okay, nice.

Then we have a solid base color on everything.

And now we can go into actually texture painting the body.

We have a few things to do.

We have like a base tone for the skin and stuff.

So I might take this one out, isolate it.

Actually, no.

I'm going to take these two together and then isolate it.

There we go.

And then I can start painting this stuff in.

We're going to sculpt mode and then I'm going to switch over to my tablet here.

And then we'll be using this tool over here, the paint tool.

And we have X on so that when we paint something it transfers to the other side.

Kind of like this, right?

Okay.

So the first thing I want to do is I want to do all the base tones for the body here.

So when I'm going to select some, I'm going to color pick a little bit, get those reddish tones here.

And then I'm going to start applying these.

And they're going to look a little bit darker everywhere here, but that's okay.

Typically with tones you're going to get a little bit darker outwards towards the extremities,

just both because of blood but also more fine motorics like the toes and hands.

But there's a lot of blood rushing down to the feet so they just get better.

And then around elbows and things because the joints get more complicated,

so it's a bit more like nerves and bloods and things.

So they are just a bit more like that.

I'm going to put some stuff into the crevices a little bit.

We'll do something with the ambient occlusion later on where we get that working also

and do some funny things with the crevices to emphasize different stuff here.

Right now I'm just trying to do slight reds into the skin here and definitely to the ears as well

and around the eyes a little bit.

And the guy is also cursed, like that's his backstory.

So he does not have to be perfect with the texture painting here.

And then always a little bit more gray around the mouth,

just like a slight hint of a thing like that.

And then if it's a bit too much, you can always just dial it back a little bit.

I kind of like going a bit too far with the reds and then afterwards coming in

and just taking the same skin tone and just glazing it on top.

And then you get those kind of subtle hues and variations and it looks a lot more natural.

Nice.

Then let's see here.

I can put a little bit more reds here, especially on the fingers here.

I want to get some good variation in there.

And then inside the palms we can brighten those up a little bit.

That usually happens.

I'll take the skin tone and just brighten it up a little bit.

A little bit more pink.

Yeah, something like that.

And then we have that on the inside, like that.

And that immediately gives it so much life when it gets this kind of variation.

Like that you just feel it coming alive, at least for me.

That really feels.

And this guy is naturally quite like a brownish, darkish skin, but he's a lot in the sun,

so he might even have some extra sunburn.

I think it just helps tell the story.

And I kind of had this idea that the cloth around him here would be causing some blocking from the sun.

So maybe there's a little bit of a brighter feel around these areas here.

It would technically be across the face, but the face also adds a lot of darkness on its own.

So I'm just kind of adding it here and then maybe a little bit in here also.

Just like that's where his body would naturally shade itself.

And then it also helps make some of the forms pop a little bit, and probably around the legs also here.

A little bit on the thigh, so you also see that on the thigh it's a bit brighter there.

So you get this person of this complexion here.

Yeah, that is quite interesting.

We can use the same color just for some of the nail stuff.

Like that.

Like that.

And you really don't need more than that just to pull that out.

Do the same on the feet here.

Like that, like that, like that, and like that.

And then you've got that stuff going on.

And we can have the same kind of underneath the feet here.

Something we're never going to see, but we're here anyway, so might as well make it complete.

And then we could use this for something else in the future.

It would probably also be a little bit more red around the groin.

And things of that nature.

Okay.

Pretty good, I think.

I'm getting a lot of those things here.

I can just highlight some of the crevices here with a little bit of red.

Just to see what we get from that.

Just some slight variation.

Okay, nice.

I think that's what I need for the body.

You can take it as far as you want, of course, but I'm calling it here at least.

That's definitely good enough for what I need.

Then I also have these veins and stuff.

And the tattoo, of course.

But instead of just painting that on top, we could do a little bit of layers.

So we could adjust the colors on their own, because they do look quite different.

And maybe it's something you would want to change.

And the veins, we might want to get a little bit of a bump map going on.

That actually gets some definition.

Like actual kind of has a feeling of it coming out right.

So if we go to the mesh properties here, then we have these color attributes.

And right now we have one called color.

And that's the default one that all the body paint is on.

I'm going to change the name of this one to body.

Like that.

And I'm going to create a new one.

And I'm going to set it on the default ones.

I'm going to call this one veins.

Like this.

And this is going to create a completely new one that's just black.

And you can see I can always switch over to the body again.

And then I get that back and I can switch over to the veins.

And that's just a new set of color attributes that you can paint on.

And then we can mix those in the shading editor.

So I'm going to jump up here and just grab a complete white one.

So saturation like this.

And then I can start creating some veins instead here.

To handle the veins themselves, we could, of course, just paint them directly onto the body here.

And start making little veins like this kind of.

But if you wanted to, you could also use a texture.

So I've created a little texture over in Photoshop.

And I want to apply it to my brush setup here as a stencil.

So I'm going to go up here and click new.

I'm going to set this to stencil.

Click new.

And then I'm going to head over to open.

And find the place where it is.

And it's over here somewhere.

Let's see here.

Let's go get the final path.

There we go.

And the veins are here.

Exactly.

These are the veins.

So this is a little image texture.

I can just load up over here.

And I can use that one as a stencil essentially to bring in the veins.

And then you get this stencil thing across your thing.

And if you hold control, then you rotate it.

If you just hold right click, then you move it.

And if you hold shift, then you scale it.

And then I can kind of place it somewhere here.

Somewhere around.

Something like that maybe.

And then I can go a little bit closer maybe.

Let's see here.

Like that.

And then when I then paint on this, it only paints within those veins kind of.

So I can have this kind of nice structure like that where I can bring in some veins onto my character.

And then I can keep using the stencil.

And you can see we are lacking a little bit of resolution because of the nature of the poly paint.

And how that works and all.

But for this it's totally fine when you're doing something a little bit simpler.

But then if you need it to go a lot bigger, then it might become a problem.

Right?

So that's just something to keep in mind.

Let's see here.

Bring a little bit in on the hand here as well.

And I'm creating just like a little vein map across the body here.

Just to get some variation.

And right now it's just a mask.

And then in the shader is where we really bring it all together kind of.

And then I can just do a little bit of that stuff there.

And then I think I'm going to turn off the texture.

Like that.

And then I can go in by hand if I wanted to select some of the black areas here.

Delete a little bit.

Get the white back.

And then I can, you know, do whatever makes sense by hand.

Create a little bit of some extra veins here.

That's quite extreme I think.

Dial all this back a little bit.

Just have it like that.

And here really, you know, look at maps and examples of like how veins stretch across the body.

I could have something going up along side this here.

That would also kind of work out.

Then veins flowing in different directions, right?

Depending on where they are.

Like this.

Like that.

And we could have some sitting on top here.

We always have that one vein that sits right there across the bicep.

There's always a sprouting of veins from here.

Nothing perfect.

We're just a little bit there.

And then when we have that actual map of the veins,

we can then go into the shading editor and then we can start applying that together with our base color.

So I'm going to grab this one and make a new shader and just call it the body shader.

Or body material actually.

I think so.

Then here we need to find the principal node here.

Just waiting for Blender to respond.

I think it's just create a new shader.

Yeah, there we go.

So now we're getting this one over here.

And then I just need to adjust the viewport.

And then create a new node.

And the node I need to create is the color attribute node.

So shift A, color attribute.

There we go.

And then on this selection we can select body.

And if we just plug that one in, we should get that body color with the slight variation and stuff.

And then we also, we can create an additional color attribute node.

I'm just going to duplicate it and then select the veins instead.

And then that is that mask here with the veins.

And I can mix that one into the other one.

So I'm going to say, give me a mix node here.

And I'm going to use this one as the mask actually.

And then this body color gets in here.

And then this one becomes the veins here.

And then I can start adjusting the color.

But these ones make them a little bit more, have that like turquoise-y slight variation.

And then it's set to mix right now, but maybe it could also just be a soft light.

Then they're barely visible.

Get this here.

Just something, you know, slight variation.

Soft light might be a bit too little.

Overlay, also kind of interesting.

Depends on what you're going for, right?

Yeah, you get those slight variations there.

I think actually that's, yeah, those kind of little trails there.

They're a little bit hard to see, but they just add a little bit of life to the skin.

Cool, and then we can do something similar for the tattoo here.

So if we go to the body here again, and then we can create a new color pass.

And then I'll call this one tattoo instead.

It just needs to, let me rename this.

For some reason it's always a little bit, there we go, tattoo.

And then that can be, we can create a mask for that basically.

So I'm going to sculpt mode here, and then I'm going to turn off the X symmetry,

because I don't want symmetry on this.

And then I'm just going to paint this stuff in, looking at the reference over there on the right.

And here I want to figure out exactly how the tattoo should follow.

And the reason why I'm breaking this stuff up right now,

like breaking up the different layers here and then combining them in the texture editor,

so I have that flexibility and control, and just to show you guys that it can be done right.

Because this character is as simple as it is, I would probably just have painted it directly on

without making these layers.

But now we have it, and then we have a little bit of extra control.

So I've got to figure out how this thing wraps around the musculature here.

And I'm thinking that maybe it just wraps around there.

And maybe it doesn't actually encroach on this one here, maybe it lets itself sit.

No, actually I think like that, yeah.

And then it covers the entire collarbone like that.

And then we get the chest muscle here.

So I'm going to create some kind of sharpish line here,

even though it does actually go down, now that I'm thinking about it.

It goes down and grabs some of these other muscles.

But let's just get the rest of the arm here.

And quickly capture that in.

And then something's happening on the hand there.

Let's see here.

And then on the back, we could have it follow the line of the trapezius here.

That'd be kind of cool.

And then having it stop by the latissimus.

And that being kind of the cutoff for it.

So it sort of kind of naturally flows with the anatomy a little bit.

Something along these lines here.

Like that, like that.

And then we get this stuff here.

And this one can still come further down even.

It'd be a little bit hard to see here.

Let's see if I go flat.

Oh, then it becomes even harder.

So I might need kind of, yeah, that actually,

this makes it a little bit easier to see because it's not as contrast filled.

Yeah, okay, so that looked like it was white paint,

but it was just shine off the thing.

Like that.

And then the concept is actually saying that this whole,

this thing is kind of coming down there.

So let's see what we can do with that.

Let's see here.

Maybe something along this line here.

And then it's coming up there.

Is it including that thing?

It could be including this one also, but I think I might leave it like that.

That is actually kind of interesting.

It looks quite contemporary when it looks like this.

So that's kind of fun.

And then we need those rings on the arm here.

That's the one place where it kind of breaks up a bit more normally.

Just a very simple design, but because we have it in layers,

we can always come in and change the tattoo design

or expand on it or something, and then, you know,

it doesn't affect the skin release.

So if that was a feature of your character,

then you have that ability to switch out the textures in that sense

without having to redo a bunch of work.

And that can be pretty good.

That could be very nice.

Like that.

Like that here.

Sort of like that.

That gives us that cutoff, and then the hand here has kind of an angle.

It sits on an angle, this thing here, and creates a little triangle like that

and wraps around the hand a little bit.

Exactly.

Exactly.

That's kind of what I was imagining that would be like.

I think that's it for the tattoo,

and then we can go back to the shading workflow here,

and then we can mix that in as well on top of all this stuff.

So if we just grab our mix overlay here,

it's all acting a little bit slow, so I'm just trying to be careful here.

We've got that one, and then that one's going into the A,

and then we can overlay something on top.

So we're going to create another color attribute,

and we're going to get the tattoo.

I'm going to use that as the mix factor.

I'm going to just look at what that looks like.

Then we've got that one, and here probably just going to have a mix

because it's going to be more of a uniform color,

and then we can bring that down something a little bit more.

Actually, I kind of like the greenish tint,

a slight greenish tint there.

Then what does that look like over here?

Yeah, then we get that kind of thing going on.

Let's just see if we go more black, or maybe the black is better.

Maybe with the bluish tint?

No, I think the blackish tint is actually preferred here,

and that's essentially how we can do that.

Then we've got the veins, we've got that stuff there,

and it all comes together in this way.

Pretty darn cool. Nice.

Then we've got that for our character,

and we've essentially got the whole body set up.

Then, of course, we can't see it in here because we're combining them,

so that's another thing, but it should all be good.

I'm going to put it back to this one.

Then I'm going to unhide the other stuff.

Now we've got the body ready, we know, from the other side.

Then we have some of the other stuff,

and then we can go through the process of painting those things out as well.

I think I'm going to start with the cloth here.

The cloth has this band, and I could almost just select

a couple of edges like that,

and then maybe just go into Vertex Paint

and say like that, and then select the color,

and just painting it on like that.

You can see it has a trail off there

where it doesn't like me doing this exactly.

When I go back, then it softens out.

That's one of the downsides to Vertex Paint

is that it's not so good with harsh distances,

and that's where you would want to get into texture painting instead.

It would probably make it a lot easier.

We can also do that, and we will do that.

We just want to do with the Vertex Paint what we can do,

but on the cloth, I think it's not the best place

unless we want to do a little bit of variation,

but I think the resolution for the cloth is a bit too low.

The same thing for some of these other things,

including this one and including this one.

I actually think we are there with what we need to do

with the vertex and the sculpt paint here,

and then we can move into doing some proper texture painting,

which means we have to start baking some maps.

That will be in the next part, next chapter.