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[Figures 60-62]
The completed work on the UVs (left). The texture map (center) used for
the iris. The final model (right).
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The completed UV work is shown in Figure 60. The checkerboard texture
lines up evenly across the body, the legs and the arms.
The Eyes
The eyes were mapped using a single map for the iris. The interesting
part of this part of the character is the way the specularity had to be
handled. I was trying to achieve a specific look, and using an
anisotropic shader provided me the kind of specular sheen I was in
search of. The problem with this was that the specularity spread all
over the eyeball, causing it to look really glowy and weird. I used a
specularity map to keep the shininess only in the iris — that was the
end of the weird glowing eyeballs.
Every character model presents different challenges. When the
production pipeline differs than the example shown here, different
techniques should be employed for some of the steps illustrated here.
The methods used in this tutorial to create blend shapes and texture
UVs are very universal and are useful for all character models. The
final model shown in Figure 62, shows the texture maps created by
Lopsie Schwartz, the animation set up created by Michael Ford and Alan
Lehman, the animation pose created by Kyle Clark, and the model and
lighting that I created for the cover of the book.
