here are making those wrinkles on a test a little bit less strong
and grow
confident enough to start working on the head.
So take the same texture there. And then I used for the body. And
just gently try to apply
that skin quality over here.
Working with
all the surface shapes and
general features.
Really want more wrinkles here on the back,
especially with those horns and
in the corner of the mouth,
trying to make out these, make these gums a little bit more fleshy.
You know, I'm really sharpening
those surface details and
I'll make sure that this whole
uh huh
The whole surface is a bit more um
it has a bit more dynamic to it,
trying to emphasize some of those lines here. And
especially in those gums here, close to the teeth.
We really want to have that
sort of flash equality
at the same time.
We have to make sure that this area is actually
not that bumpy because this is this is a bit more
uh
of a fragile kind of skin. So
it's going to be a bit more smooth
while I'm painting this,
I constantly have to remind myself that I'm not actually
painting with that that much of a strong colour because
yeah, we actually cannot.
The surface is set at this point. We cannot alter too much,
can change little things and microscopic details. But
the main the main shapes are all there. They should be there at this point. And uh
we cannot divert that much from them
here. I'm trying to continue some of these
scales that
that were actually sculpted. And then
these are just these are just bump map
and trying to make that whole thing a bit more dynamic by
increasing that flow there.
And also here I'm kind of liking this sort of
uh huh
line of scales there. So I want to use that motif along along these uh
these long curvy lines everywhere
on the top of the head.
I want to have more wrinkles than on the rest, more scales. Sorry,
but this texture doesn't really lend itself to do that kind of detail.
It's only good for
you know or uh for uh changing the skin quality a little bit
here. I'm trying to make some of these
lines into actual scales but that
that looks kind of messy.
So later on I had to rework that area
also trying to avoid that mirror access right now because currently in
blender um when I'm when I'm painting close to the mirror access,
it kind of gives these really sharp
uh these really sharp sort of artifacts there
and I
constantly have to go in there with a soft and rush and then just brush over it
later on, what we could do is remove that crease in the middle by uh just unwrapping,
making a separate unwrap.
And then just using a new texture that is not mirrored to just simply brush over
and
sort of uh
add back some of the text during on these uh these creases there
here, I switched to a different, a different stencil texture.
This one is very good for adding this kind of scale pattern everywhere
because it has lots of curves
and it has different different sizes of scales
and I found it that it works really, really great.
Um
But then again I have to make sure that I don't use it everywhere,
that it's not getting too repetitive uh
that it is not getting too repetitive
and try to raise some of my mistakes I did earlier on top of this head.
And all these wrinkles can really uh
all these scales can really follow the curvature of the whole face. And
I'm just kind of uh
pimping up these
these crevices here and they're just trying to make, make them a bit more irregular,
you know?
And here I'm
Kind of dialing back the strength a little bit by brushing over with 50% gray
and we can try to use this texture too,
sort of
emphasize these uh the skin around those
spikes here on the back, kind of make it a bit more wild and grown.
I'll also add it to add more user to add more variation to those uh
to these kind of streamlined,
pointy triangular shapes here.
And maybe it would have been good to uh
to do this kind of stuff and sculpting as well.
And then only build upon it uh during, during uh during texture painting.
But yeah, I really had to
make the make sure that the performance was working, working well during during um
wow sorry?
Um during
during displacement painting.
And
so I'm kind of trying to uh
to do a little bit more on the bump side here now.
And as I said later on I can also use this
bump map to slightly add back some displacement onto my mesh,
going into object mode again just to see
and
evaluate what I did so far.
And of course I have to save the image,
I'll just dial back the color a little bit
to see what I've been doing so far.
So it seems to be okay.
We didn't overdo it with too much too much black and too much white here
so that should be okay
back into texture paint mode.
I'm going to detail some of that top of the head now
since that part is probably not that important.
I can just mostly rely on my
stencil texture here.
I don't have to do that much wrinkle painting. And
this is a bit a bit more automat
automated
and less manual here.
Trying to budget my time as well,
trying to emphasize some of these scales here and uh
generally ruffling up
these lines everywhere.
And also the horns, they
should look like some kind of kind of tusks or
uh you know they should like they're they've they've
gradually over time grown out of the skull,
some with my wrinkle brush, I'm just
drawing these sort of cross hatched
lines on top of them
and with those that I actually don't want to add.
Um you know, counter them that much with my white brush
because that's just going to make them a bit to robbery.
So for a skin that is usually a good idea
to kind of
make it a bit more loose and natural
but for really rigid materials, especially like tusks and teeth,
It's probably not a good one.
Now this area is a bit messy here. I'll probably have to clean it up later.
But I also want to
details some of these
these horns there and sort of
guide them downwards
in the direction of the back and
kind of make it seem like the these horns turn into these really big scales later on.
So I'm kind of switching between between stencil textures here,
trying to see which one works best when I just
had was from a crocodile and it didn't really work,
it was just a bit too regular and it didn't fit.
I'll try the same here with the arms trying to
kind of turned these horns into
more of a wrinkly more of a scaly
type of feature downwards,
which just adds to the general flow of the whole
of the whole character
working on the lower jaw again, trying to make sure that I don't
paint on the mirror access that much
as I said, hopefully in the future there is going to be a mirror mode.
And even currently in uh in the texture painting branch
this sort of mirror painting
kind of works better than it does right now.
But what I was doing this I really wanted to make
sure that I used tools that work right now and uh
the texture painting branch.
Although it is absolutely awesome and I really hope that
all these features get implemented implemented you know layers and uh
uh making this whole process a little bit more
easy and automated.
Um
It was a bit tedious to use and I
wanted to make sure that
that what I use is actually a bit future proof so
that you can always go to some version of blender and use this. But
yeah
I wasn't sure if the work that was in the texture paint
branch would actually be implemented in that way in the official version.
So
yeah
yeah I'm really trying to detail these spikes here.
Um With a really small wrinkle brush
here you can probably see best that having a bit of speculative retty on
your mesh um on your on your material can help you a great deal
since you can see you're the type of surface detail
that you're painting a lot clearer.
I'm really trying to complete that.
It's a directional pull downwards towards uh
the back rest
and here are just to
and has slapped on the texture
just to have some kind of detail to work
to work with.
But I'm only using that as a base. And here I'm
I'm brushing over those wrinkles and trying to emphasize some of them.
I kind of like this sort of arch shape that this texture made here made those uh
made those ridges here a lot more organic and grown.
So they are kind of grown out of the sort of
out of this really uneven
skin.
Also cross hatching them a little bit like those uh
tusk shape
spikes on the back
to suggest that this is actually a different,
a different material or
as a different surface quality.
Here, I'm adding some of these wrinkles,
adding
some of these spikes.
I'm getting really really really, really messing up all these spikes and wrinkles.
Here, am I
um
trying to transfer some of that scale detail onto the wrinkles I painted earlier.
It is not my day today.
Again, cross hatching over it
on the underside of the body. I really wanted to have lots of big scales and uh
at the same time here, we can cheat a little bit
because it's not going to be data
that we have seen that much