I am creating a copy of my wrinkle brush.
Um This one I'm going to call, well I guess texture.
Um Next I'm adding a new texture to it in the texture tab.
Don't confuse this with the mask.
Um And this one I'm calling brush now this added a default cloud texture.
So I'm going to go to the texture tab and
choose my brush texture here.
I'm gonna make sure that its image or movie.
And I'm going to select one of the reference images that I have already
now to paint with this
and the brush mapping
menu I have to choose stencil
and I will reset the image aspect and
that will present me with a replaceable
Stencil here in the three of you.
And I can move it around pressing the right mouse button and I can rotate it
with control right mouse button and I can scale it with a shift right mouse button
and
I can just try to position it over my model and then just gently brush over it.
Um I don't have that much strength on my brush brush right now.
I can also disabled texture display during um during drawing
and I'm going to make the brush a little bit more sharp
and then I can just
start
transferring that detail
onto my texture.
Now I'm not going to take the entire image here and just slap it onto my model.
Um I'm just gonna
try to take some of that detail from it
has some very nice fine scale
uh scale and wrinkle pattern here
and
some larger scales and I just want to transfer
and this is only going to be uh sort of a base
we're going to paint over this, we're gonna erase parts of it were going to redo it.
But just to give me more inspiration, I just uh I decided to, you know,
to take a texture and uh try to transfer some of the ideas that are
in this texture onto my model.
So I'm trying to see which sort of wrinkle pattern fits where
and every once in a while I can go back to my wrinkle brush and
sort of sort of try to uh emphasize some of the wrinkles that I just transferred
or get rid of them or also pained in the other direction.
So here, I'm trying to see how far I can get away with
just emphasizing those wrinkles and trying to
uh sort of bring back some of the detail that I paint painted in earlier painted.
Uh some of the,
you know, some of the wrinkles and uh
and all that stuff.
Yeah.
And I'm trying to cross hatch against it
just to give a bit more variation to it.
Not too much because the main wrinkle direction has already indicated here
right now. I'm still trying to see if I can use this reference image
and I'm liking some of the some of the details that put in there. Um
certainly not perfect.
We shouldn't just be, you know, slapping it onto the whole thing here,
but I'm just trying to uh
to see how how far I can go with this.
Now the this brush is painting a white color right now.
That means that were directly transferring this image onto our surface.
There is no masking going on.
Um The only thing that's affecting the brush
and the influence is to strengthen the radius.
And when I'm doing this sort of stencil work I'm usually um switching off
the pressure sensitivity on the radius and uh only work with the strength.
So here are fairly gently trying to
trying to take some of that skin detail here and some of the wrinkles
trying to match them with the ones that I painted before.
And when I'm using a reference like this, I have to make sure that I'm I'm um
using it wherever I can.
Well obviously I shouldn't be just slapping it on everywhere.
But since I'm painting a sort of a certain you know very uh
um
very uh
how can you say that a very distinct skin
surface detail on it?
Um I actually want to apply that sort of surface detail everywhere
which is fine.
I mean I I just have to take that brush and sort of brush over brush it over everywhere
and
that will just add some
some level of detail
onto everything
and we don't have to keep it all,
we can just work with it and try to expand on it.
I can emphasize some of the scales here by just painting over it
with white brush and making them bump out a little bit more.
Also the larger ones there
and working over these stencils is extremely important.
So I constantly have to adapt them to my surface detail and
have to make sure that they fit into the bigger picture.
Now here there should be this kind of bridge between those two
uh wrinkle islands. Uh
That's a word.
Trying to sort of
Bring those two together by
sort of cross hatching between them
again taking lots of reference
into account.
And of course every time we have to
we uh we have painted a black line.
We also have to counter that one with the white
line so that it doesn't look like there is a
um
you know
uh huh
sort of carving uh
so that it doesn't look like a carving
like carving into stone
has to look organic.
Now I'm probably over doing this detail here.
But this was a lot of fun and done that in a long while.
So it was good getting back to this especially after you
know after staring such a long time at my model during rigging
which was
a bit of a headache.
And this was a lot of
this process was very fresh and
felt very good.
It felt like sketching and it was even more
responsive than uh than doing the displacement and everything.
And uh
you know sculpting the mesh.
It was a lot more fun.
Yeah, I'm trying to even out
and make it less strong just by taking a
gray brush and then just brushing over it slightly
and I'm obviously getting carried away with the detail here in this area.
I think the same rule um for sculpting also applies to texture painting.
You kind of want to add the same level of detail everywhere.
But it's also a very inspirational process like sculpting.
So if you are having fun during it, uh
obviously when you're sculpting a certain area
or when you're painting a certain area,
then uh
at certain times you should also be allowed to just go wild with it.
But then of course then you have to
kind of uh
make up for the rest of it
and address other areas.
So here I'm trying to add really fine wrinkles and see how that
all fits into the
into the sort of skin I have in mind for this.
Trying to make some of these wrinkles here on the legs and
on the lower part of the table less strong
and
sort of emphasizing certain parts of them.
And then I can just continue with my stencil brush and
so transfer more detail
trying to follow the natural curvature of my mesh with
the wrinkles that are already in that stencil texture.
That's why it's very important to have reference that fits or stencils that fit your
uh
your model.
So you have to be very conscious about selecting it.
And for me this sort of process worked really opposite to sculpting,
you know and sculpting your uh it's uh
probably a good idea to start with a lower level of detail and then
gently work your way upwards.
But with this I found out it's uh it's more fun and makes this whole process a bit more
uh
a bit more inspirational for me if I just have some detail that I can work with.
Now I'm disabling the color influence of my texture and I make the Meshal that
less bright
just because the color was getting in the way a bit too much
adding it back slightly so I can still see what
I'm what color I'm painting currently so that that I don't
do something really ridiculous like paint solid black onto my model
which of course would show in the bump map. But then sometimes
yeah it's a
it's better to see uh the color still while you're doing this
searching to a finer wrinkle brush and trying to bring out those scales here.
Now I'm slowly working my way upwards the neck
and
soon I'll be doing the head.
I kind of started with the whole body because I
wasn't sure of this whole
this whole setup would work. So I kind of started an area that
was a bit more hidden like the back of the tail there.
And then I slowly and gradually worked my way upwards
towards the head because that part is really important.
And I wanted to get it right there in the first try
again trying to align my texture
so it fits to the detail that I have already indicated earlier.
And I have to make sure that in this very straight area,
I don't uh I don't draw in that many,
you know that many wiggly lines.
So
and that action in that area along the next day, I should actually be
kind of straight and it wouldn't make sense to have that kind of
uh cross hatching detail along the neck, neck.
But it also depends if this creature was really really old
and uh we might want to have that sort of detail.
Okay, now I finally
made a new brush for painting white bumps
simply because that's a
was getting a bit obnoxious changing between the
brushes and the curve settings all the time.
So
I made an extra brush for it called it bumps.
And with that I'm just uh like in the two D.
Version I showed you earlier, I'm just painting some
uh
some blotches here and there and trying to make it a bit more a bit more irregular
and
maybe even indicating where later on I'm going to
put in some some of these larger scales and
just ruffling out the whole surface.
I'm trying to work in the crevices first and uh
later I can
at a different kind of details
between them
and here. I'm doing the same as I did on the torso. Just trying to,
you know, emphasis some of the lines that were in my texture and
trying to bring out some of that detail.
But here it was kind of getting a bit too bumpy,
trying to work with the surface detail with the curves
and then sort of
cross hatching slightly off it.
But then I had to erase some of these really deep crevasses there because
that was just getting a bit too much
kind of brushing over the crevices a little bit too.
You got this kind of uh
cross hatching effect
and then I'll just go back to transferring some of that texture detail.
Untrue the lower jaw.
I probably want to head to be a bit more scaly than the rest of the body.
And overall we'll have to add more scales later and
break up
Break up all this even this right now.
Well, just make sure that it's not that smooth anymore.
Trying to emphasize some of that scales here
and
just seeing if it works, but
it's a bit too strong
and we haven't done
enough of the whole body yet to see if this uh this kind of detail works
here. I'm trying to transfer some of the
scales
and then emphasised them
just by
making their creases a little bit deeper
and then
rushing over it with the
white bump brush