Texture Painting - Blender Master Class: A Hands-on Guide to Modeling, Sculpting, Materials, and Rendering - page 170

ctrl makes the selection expand from the cen-
ter, and holding shift constrains the selection
to be circular.

3. Draw out a circular outline for the outside

of the iris and then subtract the pupil shape
from the middle of the iris selection (hold down
ctrl before clicking and dragging). This time,
I created an elliptical shape to give the eye an
evil look.

4. Feather ( Select 4 Feather, 20 Pixels ) the selec-

tion to give the iris a more gradual transition
into the rest of the eye. Then, convert the selec-
tion into a layer mask by right-clicking on the
layer in the Layers dialog, selecting Add Layer
Mask , and under Initialize Layer To , choosing
Selection . This creates a layer mask with your
selection that allows you to paint on the layer
itself (select it in the Layers dialog first) without
losing the shape of the iris (see Figure 11-21).

Figure 11-22: Adjusting the pupil to fit the texture. Left: The
adjusted UV coordinates. Right: The eye in Edit mode with the
texture applied.

Texturing the Jungle Temple
The textures for the Jungle Temple scene required
a different approach. This project has a number of
objects that require very similar textures, so textur-
ing each one individually would be time consuming
and unnecessary. Instead, I chose to use tileable,
seamless textures to cover much of my scene and to
supplement these with details in key places. Tileable
textures allow a single texture to be used across mul-
tiple models.

5. Fill the iris with black using the Fill tool and

then use the Paint tool and a large, soft brush
to add color. I began with a bright orange and
then added elements of red, green, and purple
to build up different colors (use low pressure if
you have a tablet, or set the brush opacity low). I
left the edges of the iris black.

6. Now add color around the outside of the eye

(the sclera ) on the layer below the iris. I painted
a lighter yellow here and mixed it with a darker,
reddish brown. I also filled the pupil with black
on this layer. My eye texture now looked like
Figure 11-21. I saved this texture as a .tga ile.

Hardness vs. Roughness
For the Bat Creature, one of the texture types I cre-
ated was a hardness texture, which will be used to
define which areas of my materials have sharp, small
specular reflections and which parts have blurry,
more spread out specular reflections. To define
these areas, the texture is mapped to the hardness
value of the material's specular shader. Dark areas
of the texture then result in soft, blurry specular
reflections, and bright areas result in sharp, hard
specular reflections.
However, this is only the case when rendering
in Blender Internal. When rendering with Cycles,
materials are created differently (as we will see in
Chapter 12). And instead of a hardness value, specu-
lar shaders now have something called a roughness
value. This works in the opposite way to a hardness
value, but defines roughly the same thing. For a
roughness texture, bright areas denote soft, blurry
reflections, and dark areas denote sharp reflections.
Keep this in mind when creating your textures.

* Because I decided to change the shape of the pupil

slightly in my texture, I also tweaked the shape of the
pupil on my model by selecting the pupil's vertices and
scaling them up on the z -axis. I slightly adjusted the
UV map, too (see Figure 11-22).

Figure 11-21: The mask for the iris, created using the Elliptical
Select tools (left) and the eye texture (right)