Blender master class

Blender Master Class

BLENDER

MASTER CLASS

a hands-on guide to modeling, sculpting, materials, and rendering

Ben Simonds

san francisco

Blender Master Class. Copyright © 2013 by Ben Simonds.

All rights reserved. No part of this work may be reproduced or transmitted in any form or by any

means, electronic or mechanical, including photocopying, recording, or by any information storage

or retrieval system, without the prior written permission of the copyright owner and the publisher.

Printed in USA

First printing

17 16 15 14 13 1 2 3 4 5 6 7 8 9

ISBN-10: 1-59327-477-7

ISBN-13: 978-1-59327-477-1

Publisher: William Pollock

Production Editor: Alison Law

Cover Design: Anna Diechtierow

Interior Design and Composition: Riley Hoffman

Developmental Editor: William Pollock

Technical Reviewer: Thomas Dinges

Copyeditor: Julianne Jigour

Proofreader: Paula L. Fleming

Indexer: Nancy Guenther

For information on book distributors or translations, please contact No Starch Press, Inc. directly:

No Starch Press, Inc.

38 Ringold Street, San Francisco, CA 94103

phone: 415.863.9900; fax: 415.863.9950; [email protected]; http://www.nostarch.com/

Library of Congress Cataloging-in-Publication Data

A catalog record of this book is available from the Library of Congress.

No Starch Press and the No Starch Press logo are registered trademarks of No Starch Press, Inc.

Other product and company names mentioned herein may be the trademarks of their respective

owners. Rather than use a trademark symbol with every occurrence of a trademarked name, we are

using the names only in an editorial fashion and to the benefit of the trademark owner, with no

intention of infringement of the trademark.

The information in this book is distributed on an “As Is” basis, without warranty. While every pre￾caution has been taken in the preparation of this work, neither the author nor No Starch Press, Inc.

shall have any liability to any person or entity with respect to any loss or damage caused or alleged

to be caused directly or indirectly by the information contained in it.

This book is dedicated to my parents,

James and Katrina.

Acknowledgments

This book would not have been possible without patient help from Bill

Pollock, Alison Law, and everyone else at No Starch Press who helped put

it together.

Thanks also to the minds behind CGTextures (http://cgtextures.com/),

who have put together a fantastic resource for artists and who kindly

gave permission for the textures used in the projects in this book to be

included on the DVD.

Most of all, thanks to Ton Roosendaal and all those who have contrib￾uted to Blender. It’s my favorite piece of software and one around which

my livelihood is largely built. I’m very grateful for it. Thanks to Thomas

Dinges, who is not only an active developer of Blender but also took the

time to do the technical review of this book. Thanks to the Blender com￾munity, to the members of the Blender Artists Community (http://www

.blenderartists.org/), and to everyone who contributes to the Blender wiki

and other resources like it. It’s great to be a member of such a creative,

open, and friendly bunch.

About the Author

Ben Simonds is a 3D artist and co-director of Gecko Animation Ltd., an

animation and post-production company based in London, England

(http://geckoanimation.com/). He first started messing around with Blender

back in 2005, when he had no idea it would eventually become a major part

of his day job. Since then he’s authored a wide variety of tutorials and

articles for his own website (http://bensimonds.com/) and other Blender

community websites, including Blender Cookie and BlenderNation.

At Gecko Animation, he produces visual effects, models, animation,

and graphics for TV and advertising. His work has appeared on major UK

TV channels like the BBC, Channel 4, and Dave. Gecko Animation’s in￾house short animation Assembly: Life in Macrospace won the 2011 Suzanne

Award for Best Designed Short Film at the Blender Conference in

Amsterdam.

About the Te chnical Re viewer

Thomas Dinges was born in 1991. He started using Blender and became

interested in 3D graphics at the age of 16, after seeing the world’s first

open movie, Elephants Dream. In 2009, he started working on Blender as

a developer, helping create the new interface for the Blender 2.5x project.

He also has organized the German Blender conference, BlenderDay,

since 2009. His website is http://www.dingto.org/.

Br ief Contents

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xv

Chapter 1: Introduction to Blender . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Chapter 2: Introduction to GIMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Chapter 3: Preparation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Chapter 4: Blocking In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Chapter 5: Modeling the Details . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Chapter 6: Sculpting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Chapter 7: Retopology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Chapter 8: UV Unwrapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Chapter 9: Hair and Particle Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Chapter 10: Texture Baking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Chapter 11: Texture Painting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Chapter 12: Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Chapter 13: Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Chapter 14: Rendering and Compositing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

Chapter 15: Going Further . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Co n tents in De ta i l

Intr oducti on xv

Topics Covered . . . . . . . . . . . . . . . . . . . . . . . . . . . xv

What Isn’t Covered . . . . . . . . . . . . . . . . . . . . . . . . xvi

Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xvi

The Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xvi

The Bat Creature . . . . . . . . . . . . . . . . . . . . . . xvii

The Spider Bot . . . . . . . . . . . . . . . . . . . . . . . xvii

The Jungle Temple . . . . . . . . . . . . . . . . . . . . . xvii

How to Follow the Projects . . . . . . . . . . . . . . . xviii

Resources Accompanying This Book . . . . . . . . . . . . xviii

Let’s Begin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xviii

1 Intr oducti on to Blender 1

About Blender . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

The Blender User Interface . . . . . . . . . . . . . . . . . . . . 2

Layout and UI Terminology . . . . . . . . . . . . . . . . . 2

Switching Editors and Customizing the UI . . . . . . . 3

Multiple Layouts . . . . . . . . . . . . . . . . . . . . . . . . 3

Editor Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

The 3D Viewport . . . . . . . . . . . . . . . . . . . . . . . . 4

The Properties Editor . . . . . . . . . . . . . . . . . . . . . 5

The Info Editor . . . . . . . . . . . . . . . . . . . . . . . . . . 6

The Node Editor . . . . . . . . . . . . . . . . . . . . . . . . 7

The UV Image Editor . . . . . . . . . . . . . . . . . . . . . 7

Other Editors . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Using Blender . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

The Default .blend File . . . . . . . . . . . . . . . . . . . . 8

Adding Objects . . . . . . . . . . . . . . . . . . . . . . . . . 8

The 3D Cursor . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Selecting Objects . . . . . . . . . . . . . . . . . . . . . . . 8

Manipulating Objects . . . . . . . . . . . . . . . . . . . . 8

Other Coordinate Systems . . . . . . . . . . . . . . . . . 9

Operators . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Datablocks . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Naming Datablocks . . . . . . . . . . . . . . . . . . . . . 11

Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Saving and Loading . . . . . . . . . . . . . . . . . . . . . 11

Appending and Linking . . . . . . . . . . . . . . . . . . 11

In Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

2 Intr oducti on to GIMP 13

About GIMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Why GIMP? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

The GIMP User Interface . . . . . . . . . . . . . . . . . . . . . 14

The Toolbox . . . . . . . . . . . . . . . . . . . . . . . . . . 14

The Canvas . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Dialogs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Using GIMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Creating an Image . . . . . . . . . . . . . . . . . . . . . 16

Painting and Drawing . . . . . . . . . . . . . . . . . . . 16

Brushes and Brush Dynamics . . . . . . . . . . . . . . . 16

Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Saving and Exporting . . . . . . . . . . . . . . . . . . . 17

In Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

3 Preparati on 19

Concept Art and References . . . . . . . . . . . . . . . . . . 19

Creating, Finding, and Using References . . . . . . 19

What to Look for in Reference Material . . . . . . . 20

Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

The Rule of Thirds . . . . . . . . . . . . . . . . . . . . . . 22

Silhouettes and Negative Space . . . . . . . . . . . . 22

Simplicity and Focus . . . . . . . . . . . . . . . . . . . . 23

Visual Path . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Testing Compositions in Blender . . . . . . . . . . . . . . . . 24

Preparing References in GIMP . . . . . . . . . . . . . . . . . 24

Creating a Reference Sheet . . . . . . . . . . . . . . . 24

Aligning Orthographic References . . . . . . . . . . . 24

Using Concepts and Reference Images in Blender . . . 26

UV Image Editor . . . . . . . . . . . . . . . . . . . . . . . 26

Background Images . . . . . . . . . . . . . . . . . . . . . 27

Image Empties . . . . . . . . . . . . . . . . . . . . . . . . . 27

In Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

4 Blocking In 29

Basic Modeling Terms . . . . . . . . . . . . . . . . . . . . . . . 29

Edit Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Other Ways to Model: Curves . . . . . . . . . . . . . . . . . 32

xii Contents in Detail

Modifiers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Blocking in the Jungle Temple . . . . . . . . . . . . . . . . . 34

Snapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Base Meshes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Building the Bat Creature Base Mesh . . . . . . . . . . . . 36

Loop Cuts and Face and Edge Loops . . . . . . . . . 37

Poses for Modeling Characters . . . . . . . . . . . . . 38

Modeling the Hands and Feet . . . . . . . . . . . . . . 40

Modeling the Head . . . . . . . . . . . . . . . . . . . . . 42

Tweaking the Model with Proportional Editing . . . 43

Creating the Wings . . . . . . . . . . . . . . . . . . . . . 44

Applying Transforms . . . . . . . . . . . . . . . . . . . . 45

Shading Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Creating the Spider Bot . . . . . . . . . . . . . . . . . . . . . 47

In Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

5 Modeling the Details 49

Topology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

What Is Good Topology? . . . . . . . . . . . . . . . . . 50

Dealing with Difficult Topology . . . . . . . . . . . . . 50

Modeling the Details of the Jungle Temple . . . . . . . . . 52

Walls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Statues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Stone Carvings . . . . . . . . . . . . . . . . . . . . . . . . 55

Plants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

IvyGen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Ground/Soil . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Modeling the Details of the Spider Bot ........... 61

Joints............................... 61

Wires . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Coupling . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Other Parts . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Modeling the Details of the Bat Creature . . . . . . . . . 63

Eyes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Teeth and Nails . . . . . . . . . . . . . . . . . . . . . . . . 63

In Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

6 Sculpting 65

Sculpt Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Brush Options . . . . . . . . . . . . . . . . . . . . . . . . . 66

Brush Types . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Creating Custom Brushes . . . . . . . . . . . . . . . . . . . . 69

Clay Tubes . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Rake . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Scrape Flat . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Crease Lazy.......................... 71

Drag Alpha . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Making Brushes Available by Default . . . . . . . . . 72

Improving Your Sculpting Experience . . . . . . . . . . . . 72

Optimizing Sculpting Performance . . . . . . . . . . . 72

Customizing the 3D Viewport . . . . . . . . . . . . . . 73

MatCap Materials . . . . . . . . . . . . . . . . . . . . . . 73

Tweaking OpenGL Shading . . . . . . . . . . . . . . . 75

The Multires Modifier . . . . . . . . . . . . . . . . . . . . 76

Sculpting Concepts . . . . . . . . . . . . . . . . . . . . . . . . 77

Sculpting the Bat Creature . . . . . . . . . . . . . . . . . . . . 78

Volumes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Planes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Coarse Anatomy . . . . . . . . . . . . . . . . . . . . . . 80

Sculpting Hard-to-Reach Areas Using

Shape Keys . . . . . . . . . . . . . . . . . . . . . . . 80

Hiding Parts of the Mesh . . . . . . . . . . . . . . . . . 81

Sculpting the Wings . . . . . . . . . . . . . . . . . . . . . 83

Basic Details . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Sculpting Around the Eyes . . . . . . . . . . . . . . . . 83

Time to Retopologize . . . . . . . . . . . . . . . . . . . . 84

Transferring Sculpted Detail to a New Mesh

with a Displacement Map . . . . . . . . . . . . . 84

Detailing . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Posing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Expression . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Sculpting the Spider Bot . . . . . . . . . . . . . . . . . . . . . 90

Body . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Head . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Legs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Jungle Temple: Creating Incidental Details . . . . . . . . . 92

Sculpting Natural-Looking Faces . . . . . . . . . . . . . . . 92

In Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

7 Ret opology 95

The Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Using Snapping to Retopologize . . . . . . . . . . . . 95

Alternative Methods for Retopology . . . . . . . . . . 96

Retopologizing the Jungle Temple Trees . . . . . . . . . . 97

Retopologizing the Bat Creature . . . . . . . . . . . . . . . 98

Decimation . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Retopologizing the Body . . . . . . . . . . . . . . . . 100

Retopologizing the Spider Bot . . . . . . . . . . . . . . . . 102

Duplicating Groups of Objects . . . . . . . . . . . . 104

Tips for Retopologizing . . . . . . . . . . . . . . . . . . . . . 104

Head Topology.......................... 106

Eyes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Mouth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Nose/Nasolabial Fold . . . . . . . . . . . . . . . . . . 106

Ears . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

In Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Contents in Detail xiii

8 UV Unwrapping 109

Other Kinds of Texture Coordinates . . . . . . . . . . . . 109

Editing UV Coordinates . . . . . . . . . . . . . . . . . . . . 110

The UV Grid . . . . . . . . . . . . . . . . . . . . . . . . . 110

Unwrapping Tools . . . . . . . . . . . . . . . . . . . . . 111

Seams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Pinning Vertices . . . . . . . . . . . . . . . . . . . . . . . 113

Packing . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Assigning UV Textures . . . . . . . . . . . . . . . . . . 113

Testing Your UV Coordinates . . . . . . . . . . . . . . 114

Unwrapping the Bat Creature . . . . . . . . . . . . . . . . 114

Unwrapping the Jungle Temple . . . . . . . . . . . . . . . 115

Stone Blocks . . . . . . . . . . . . . . . . . . . . . . . . . 115

Trees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Multiple UV Maps . . . . . . . . . . . . . . . . . . . . . 117

Sharing UV Space Between Objects . . . . . . . . 117

Leaves and Grass . . . . . . . . . . . . . . . . . . . . . 118

Statue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

The Rest of the Elements . . . . . . . . . . . . . . . . . 118

Unwrapping the Spider Bot . . . . . . . . . . . . . . . . . . 119

Applying Modifiers and Duplicates . . . . . . . . . 119

Sharing UV Space Efficiently . . . . . . . . . . . . . 119

In Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

9 Hair and Particle Systems 121

Particles for Hair . . . . . . . . . . . . . . . . . . . . . . . . . 121

Choosing an Object to Add Hair To . . . . . . . . 121

Vertex Groups for Hair . . . . . . . . . . . . . . . . . . 123

Weight Painting . . . . . . . . . . . . . . . . . . . . . . . 123

Adding a Particle System . . . . . . . . . . . . . . . . . . . 125

Particle System Properties . . . . . . . . . . . . . . . . 125

Emission Panel . . . . . . . . . . . . . . . . . . . . . . . 125

Velocity Panel . . . . . . . . . . . . . . . . . . . . . . . . 126

Rotation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Render . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Children . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Vertex Groups . . . . . . . . . . . . . . . . . . . . . . . . 128

Particle Mode . . . . . . . . . . . . . . . . . . . . . . . . 129

Shaping Your Hair . . . . . . . . . . . . . . . . . . . . . 129

Styling Tips . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Child Particles . . . . . . . . . . . . . . . . . . . . . . . . 130

Peach Fuzz . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Complex Haircuts . . . . . . . . . . . . . . . . . . . . . . . . 131

Controlling Particles with Textures . . . . . . . . . . . . . 132

Other Uses for Particle Systems . . . . . . . . . . . . . . . 132

Grass for the Jungle Temple . . . . . . . . . . . . . . 132

Hair and Fur Tips . . . . . . . . . . . . . . . . . . . . . . . . . 135

In Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

10 Texture Baking 137

Images and Textures . . . . . . . . . . . . . . . . . . . . . . . 137

Assigning an Image . . . . . . . . . . . . . . . . . . . . 138

Assigning Textures . . . . . . . . . . . . . . . . . . . . . 138

Texture-Baking Controls . . . . . . . . . . . . . . . . . . . . 138

Texture Map Types . . . . . . . . . . . . . . . . . . . . . . . . 139

Baking Textures for the Bat Creature . . . . . . . . . . . . 141

Baking Displacement from Sculpt to

Final Mesh . . . . . . . . . . . . . . . . . . . . . . . 141

Bit Depth and Textures . . . . . . . . . . . . . . . . . . 142

Applying the Displacement Map . . . . . . . . . . . 144

Baking Normal Maps . . . . . . . . . . . . . . . . . . 144

Baking Ambient Occlusion . . . . . . . . . . . . . . . 144

Baking Textures for the Spider Bot . . . . . . . . . . . . . 146

Baking Maps for Multiple Objects . . . . . . . . . . 146

Baking Diffuse Colors and Textures . . . . . . . . . 148

Texturing the Jungle Temple . . . . . . . . . . . . . . . . . . 149

General Tips for Baking Maps . . . . . . . . . . . . . . . . 151

In Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

11 Texture Painting 153

Texturing in Blender . . . . . . . . . . . . . . . . . . . . . . . 153

Project Paint . . . . . . . . . . . . . . . . . . . . . . . . . 154

Painting in the UV Image Editor . . . . . . . . . . . . 155

Texturing in GIMP . . . . . . . . . . . . . . . . . . . . . . . . 155

Creating Brushes for Texturing in GIMP . . . . . . 156

Adding Variation to a Brush . . . . . . . . . . . . . . 157

Texturing the Bat Creature . . . . . . . . . . . . . . . . . . . 158

Materials and UI Setup for Painting . . . . . . . . . 158

Layer Modes and Opacity . . . . . . . . . . . . . . . 159

Fixing Seams . . . . . . . . . . . . . . . . . . . . . . . . 164

Layer Masks......................... 166

Creating Specular and Hardness Textures . . . . 166

Layer Groups . . . . . . . . . . . . . . . . . . . . . . . . 166

Texturing the Eyes . . . . . . . . . . . . . . . . . . . . . 168

Texturing the Jungle Temple . . . . . . . . . . . . . . . . . . 170

Hardness vs. Roughness . . . . . . . . . . . . . . . . . 170

Creating Seamless Textures with GIMP . . . . . . . 171

Texturing the Ground and Trees . . . . . . . . . . . . 171

Texturing the Statue . . . . . . . . . . . . . . . . . . . . 173

Texturing to Camera . . . . . . . . . . . . . . . . . . . 176

Texturing the Leaves . . . . . . . . . . . . . . . . . . . . 177

Texturing the Spider Bot . . . . . . . . . . . . . . . . . . . . 179

Creating Three Textures . . . . . . . . . . . . . . . . . 180

Adding Decals . . . . . . . . . . . . . . . . . . . . . . . 180

In Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181