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layer some more contrast. Next,
I changed the color of the
layer using Colors 4 Hue and
Saturation and shifted the Hue
slider to give it a more bluish
tint (see Figure 11-19 at ).
Although this already gave a
pretty good specular texture, to
get more variation, I duplicated
the layers I created earlier for the
diffuse map with speckles and
spots on them and placed them
in the layer group for the specu-
lar map, adjusting their colors
appropriately.
Next, I started tweaking
some areas to get the right level
of specularity. For example, I
wanted the lips and the area
around the eye to look moist and
shiny, and I wanted the torso and
arms to look more matte and dry.
I could have started painting over
using a basic brush, but doing so
would have lost a lot of the tex-
ture I'd already worked to create.
Instead, I was able to preserve
some texture by using a different
Brush mode. The Brush mode
can be set from the Tool Options
dialog. Brush modes have the
same options (normal, multiply,
addition, and so on) that Blend
modes for layers have. A good way
to tweak the values in an image
without losing detail is to use the
paintbrush with the Brush mode
set to Overlay and to use black
to darken areas and white to
brighten them.
In certain areas, I wanted to
keep some texture while getting
rid of very dark or light values,
and here the Lighten Only and
Darken Only brush modes came
in handy. I used Darken Only
and a midvalue color to get rid of
overly bright areas without losing
darker elements of the texture,
and vice versa. Figure 11-20 shows
the finished specular texture.
Hardness Map
To create the hardness texture,
I first made a New From Visible
layer from the diffuse texture.
(You can turn off the visibility of
the specular texture layer group
to make the diffuse texture vis-
ible again.) Next, I inverted the
layer, adjusted the levels, and
began tweaking by hand with
the Paint tool, just as I did above.
Because the hardness texture
benefits from more variation, I
created a new layer and painted
in more speckles over the body
(both lighter and darker ones).
Figure 11-20 also shows the fin-
ished hardness texture.
Texturing the Eyes
With most of the texturing done,
I moved on to texturing the eyes.
For this I made a new image,
which I painted by hand by tak-
ing the following steps:
1.
Create a new image that
is 1024×1024 pixels in size
( File 4 New Image ). Then,
to get a guide for the middle
of the eye, create two guide-
lines through the middle
of the image, horizontally
and vertically. To do this,
click Image 4 Guides 4 New
Guide by Percent. To create
guidelines for placing the
pupil, repeat this once for
the vertical guide and once
for the horizontal one, each
at 50 percent of the image's
height or width.
Figure 11-18: Organizing layers
with Layer Groups
Specular Map
For the specular map, I first
created a new layer from the vis-
ible layers (Layer 4 New Layer
from Visible) and placed it in
the layer group for my specu-
lar map. I inverted the colors
of the texture (Colors 4 Invert)
and then tweaked the levels
(Colors 4 Levels) to give the
2.
Fill the first layer with a yel-
lowish color and then create
a new layer for the iris. To
get the correct shape, use the
Ellipse Selection tool ( E )
and click and drag from the
center of the image to draw
out a circle. Holding down
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