Tragic Kingdom: Issun-Boshi 4 – Texture

This is part of the sculpt update, time just got the best of me yesterday. At this point, the base texturing is complete, though I’m still going back and forth on the possibility of camera close-ups on the face. It may be that heads get their own maps, haven’t completely decided yet. For now, I’m really happy with how these came out:

I’m working on a custom design for a tattoo sleeve now for the right arm and chest. That will eventually be part of the design, but I’ve never done one before so it might be a while before I settle on something I find pleasing. In the meantime, I’ll be focusing on rigging and animating most likely, and will also be getting started on a female base mesh which will then be incorporated into the designs of more characters to come.

The texturing took ~many~ hours of blending high-res photos of actual people with painting and compositing techniques for something realistic and attractive. I must admit though, while I’m happy with the results, I texture sort of begrudgingly; to me, models always look their best in gray.

Hey there’s a thought…a complete black & white aesthetic :O


Base 15: UV Mapping

While he’s not up for texturing as a base asset, I still want him UV mapped and ready to go. Each part of his body is isolated with a planar map, then connected where relevant in the UV window. While pelt mapping and other more automated tools are potential alternatives, I don’t feel they give me the control that comes with more manually dexterous methods when time allows.

Most if it is relatively straight-forward. The head tends to boggle some people though, so I’ve documented how I do it more carefully. First, I planar map each section separately: the face, the top of the head, the left and right side of the head/ears, the front of the neck, the left and right side of the neck.

Afterward, the UVs are stitched together so it’s one, flat piece.

Finally, the UVs are relaxed to provide even distribution of the UV Space. Notice the unavoidable seem is placed in the most inconspicuous area near the back top of the head, where hair is most likely to occupy and in the event of a bald style, where camera and shadow will obscure any potentially noticeable texture seams.

And here’s the final map.