Headless No More

Last week we showed you various texturing stages of our villain. He was missing the head then, so let’s take another look.

The head and face are prominent areas of every character, therefore special attention and care must be taken when preparing UVs and painting textures. We typically spend more time on it than we do for example on a piece of clothing. However, in terms of overall workflow the head texturing process is no different from what we described previously. We start with a lowpoly mesh, sculpt it and paint it.

When it comes to faces, the camera’s field of view makes quite a difference. Setting up a large field of view results in lots of perspective, which optically widens facial features and makes them more prominent. A smaller field of view on the other hand flattens the face. It often makes sense to match the camera settings in the sculpting / texturing application to the game engine’s camera.

A clean single-island UV layout is helpful if the face is to be textured using photographs. This is how we used to do it in the past, but ever since we discovered Substance Painter we prefer to paint head textures by hand. The application provides a lot of good tools to create believable skin.

Our villain character has already moved on into the rigging and animation stage, but of course he is still missing hair. We are currently trying out various methods of getting decent hair into Unity. This is a tricky subject, and we will discuss it in more detail in a later blog post. For now here’s a quick sneak peek of some highres hair style we prepared. It remains to be seen how much detail we can get into the actual game.


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