Monday, 16 December 2013

A new Demo Reel to start 2014

Once again it has been a while since I have posted anything on my blog.

Things have been really busy of late, but I have managed to sit down and update my showreel. I have included some of my newest work and also tried to show some of the process and elements that go into the finished product.

I am really pleased with how it has turned out and am really looking forward to adding more of the same quality work to it next year!

Enjoy the reel, and I would like to wish all of you a very merry Christmas and a happy new year!

Geoff Ind Demo Reel 2014 from Geoff Ind on Vimeo.

Thursday, 31 October 2013

Painting Flames, Magic, and other FX using Gradient Maps in Photoshop.

Hi there, 

I have been playing round in Photoshop on and off over the last couple of days to sharpen my painting skills and thought I'd share with you a really neat little way of painting glow based FX.

Here are a few examples of studies I have painted using this technique.

Examples of different FX painted using the same gradient map technique.

The actual process to set-up a layer ready to paint using a gradient map is pretty simple and doesn't take more than a couple of minutes once you have completed the step's a few times.

1. Create a new canvas in Photoshop at the size that you want to paint.

2. In the layers window, create a new Group using the group button at the bottom.

Create a new Group using the Group button.
3. Adjust the groups "Blend Mode" using the drop down box. The group's blend mode should be set to "Screen".

Adjust the blend mode of the group.
Set blend mode to "Screen".

4. Add 2 new layers into the group by selecting the group layer and then left mouse clicking on the new layer button twice. 

The top layer is used to paint your design on, the bottom layer must be filled with solid black.

Create two new layers inside of the group.
5. Select the top most layer inside the group, and add an adjustment by clicking on the "New Adjustment" button at the bottom of the window.

Select the top most layer inside of the group.
click on the "Add new Adjustment" button.
6. A list of adjustments will pop up, select the Gradient Map Option at the bottom of the list.

Select the "Gradient Map" option near the bottom of the list.
7. When you select the Gradient Map option, a new layer will be created that has a gradient attached to it. The Adjustments shelf will also have appeared from your list of shelves. 

Click on the Gradient inside the shelf. This will open the "Gradient Editor". Using the gradient editor you can make new gradients and adjust them. You can also select from the default ones and any that you have made and saved previously.

Use the "Gradient Editor" to chose your gradient or to create new custom ones of your own.
I have made and saved a few new gradients of my own for Fire and Flames, Smoke and different colours of magic etc. 

Each Gradient has several different shades that go from Black on the left to a colour with a high value on the right, usually a white or slightly off white colour. I mostly try to have at least 4 or 5 different shades of colour in my gradients to control the types of values of colour I want in my designs and also to add more interest.

My custom gradients. From top to bottom. Fire, Green Magic, Blue Magic, and Red Magic or another slightly different version of Fire.

Once you are happy with your Gradient, click on the "OK" button at the top of the Gradient Editor. You can come back to your gradient and adjust it at any time while painting by simply selecting the adjustment layer in your layers window and clicking on the gradient to open the Gradient Editor again.

8.Select the centre layer of the Group. Paint your design using WHITE and the brush tool. If you have a Wacom Tablet you can get some really nice overlapping values of colour using the pressure sensitivity of the pen. If you don't have a Wacom then you can also use the opacity options for the brush (at the top of the screen) to get a similar effect using the mouse.

Paint on the middle layer in White.
I really enjoy using this technique to paint glow based FX. Because you are using just white to paint with, and letting the gradient is taking care of the colour values. (Based on the amount of white that you are putting down on the canvas). It really frees you up to focus on the shapes and design of the effect.

Here are the above examples again but in larger versions.

Small Flame.
Not much to the design here, the main thing to try and get into the painting is the overall shape of the flame. Asymmetrical shapes work best.

Magic Bolt.
Magic Bolt.
When painting magic I try to get layers of interest and detail into the design. Again an asymmetrical design works best for the overall shape. I have tried to incorporate more intricate lightning within the overall design to indicate power within the bolt.

Magical Smoke.
Magical Smoke.
For this example I tried to imagine smoke rising from a cauldron, with tendrils of magical power mixed within. Again this design it all about asymmetry and layers of interest.

Flame beast shape thing.
Flame beast shape.
Of all of the studies on this page this one took the longest and is still in need of more work. I am still pleased with the overall look of the design, again it is asymmetrical and contains more of my layered thinking on the detail.

The next evolution to creating these FX based paintings is to combine several of the different coloured gradient maps into the same design for yet more layers of interest.

Anyway I hope that you have enjoyed this quick infotainment tutorial! Now go have fun with your own designs!

Friday, 25 October 2013

Kiwicarpool Stage 2 Animation

I have been super busy of late working on a vast range of different projects some of them animated, some illustrative and allot not related to animation at all. I hope to find more time to devote to animation soon once all of my non animated projects have been completed.

In the mean time here is another Kiwi carpool infomercial that I had the fortune of working on a few weeks ago. 

This job came through rather urgently one afternoon with the client wanting the completed clip back within a few days. In the end I managed to turn this clip around in less than 24 hours.

Most of the animation is the same as in the last clip. The running time and most of the facts that the client wanted to hi-light have changed from the stage one animation and had to be re-timed and animated. The result I think is a much punchier and easier to assimilate informational video.


Kiwicarpool Infomercial Stage 2 from Geoff Ind on Vimeo.

Monday, 19 August 2013

Kiwi Carpool Infomercial

Hello Everyone!

Over the last few weeks I have been really busy with a few freelance projects and and a never ending list of domestic duties.

The latest project I was involved in has just been posted on Youtube, it was an infomercial style animation that aims to inform New Zealand drivers about the benefits of carpooling.

I was involved with the animation side of the project working with one other animator. I was asked to create several animated elements that move within the design provided by the client. Then to assemble all of the different parts and export for the web.

All of the animation was completed using a combination of Flash and After Effects.

Here is the completed video.

I enjoyed working on this project and learned allot about working on a project that had a really tight brief and a quick turnaround time.

As always I am looking for more animated or still freelance projects so please get in touch!

Tuesday, 18 June 2013

Spaceman Pose and lighting Test

Hey everyone, 

Sorry its been a while since my last post, I have been super busy making preparations to move from Auckland down to Waihola and have not had too much time to put towards my own projects. I will be moving on the 21st so will more than likely be offline for a week or so until we can get everything straightened out again in the South Island.

In the mean time I have been busy recording my brain waves onto the school hard drives so that a small part of me can live on and manipulate the minds of future generations of south seas animation students!

On my own front I have been testing the spaceman rig and ironing out any bumps, kinks, and bruises in the rig so that he is ready for the school project which starts production on the 8th of July. Our second year students are busy working on pre-production design work for the world, props and vehicles as we speak.

All I can say is that the project is looking like its going to be a doozy this year, and I will be looking forward to seeing the completed product.

Posed and lit test render of the "Spaceman".

Wednesday, 15 May 2013

Banana Anyone.......Complete!

Yesterday, I promised to give you an update on my banana texture which I was demoing for our students.

There are a few things I want to tweak a bit more but for my first ever time painting a banana skin I think that it came out pretty well!

Here it is...

The completed banana as of yesterday afternoon.

The completed colour texture map.

Tuesday, 14 May 2013

Banana Anyone?

I sometimes look at what I do in a day and think this is strange. Today is one of those days!

At the moment I am teaching texturing at South Seas. Today we have been looking in great detail at banana's, each of our students for homework had to find and bring one in and analyse what makes a banana look like a banana.

They then have to paint a texture for a 3D banana and infuse all of the gathered banana essence into their textures. All the while I have been demoing the process to them. 

Here is my results so far, I will update again at the end of the day with the final result of a days worth of texturing!

I love animation...

Progress render.
and here is the colour UV map so far.

Progress Colour UV Map.

Thursday, 9 May 2013

Big Guy Texture maps breakdown

Second post in one day, awesome!

I have just completed a breakdown sheet that breaks apart the shading network for the Big Guy head n shoulders rig. I will be using it to help explain my texturing process and teach my students how to go about creating a shading network for a character in Maya next week.

I hope you get something out of it too...

Big Guy shading network breakdown.

Quick Update

I have been kept extremely busy at work of late getting ready for the next series of classes that I will be teaching. As always I have also been hard at work creating new teaching resources and improving the resources we already have.

The latest piece that I have completed is a new texture for our "Big Guy" rig which we use during the key animation module. This is a close up head and shoulders version that can be used for facial acting and dialogue. For his texture I have gone for a more feature quality look which I am quite happy with.

The spaceman rig is also now officially complete after a few small bugs found during testing phase. I am also happy to report that he is now an official South Seas animation rig which will be used during classes and he will also be the star of the school short film project this year!

I am super excited about this development and for one cant wait to see the short start production or see the animation that our students will be creating with him.

In the mean time I will still be animating with him in my spare time, so keep you eyes peeled for more updates to come.

BigGuy Bust from Geoff Ind on Vimeo.

Thursday, 2 May 2013

Future Projects...

Hello everyone,

I am still waiting on my Spaceman character's rig to be completed by my rigging guru. I have been working with Dan closely to ensure that all of his controls allow for a really wide range of expression and character. So far the rig is looking uber cool. I just cant wait to get into posing, which should be happening very soon. So keep your eyes peeled for that.

In the mean time while I wait, I have been really busy at South Seas preparing for the next set of classes I am teaching with our first year group. I have also been mulling over a few sequences that I want to use my new rig in. I'm nearly there with a few idea's and I'll start boarding it up on paper soon.

I have also been steadily adding a few more projects to the list of things that I can move on to when the spaceman is complete. In my last post I shared a character design that I want to develop more and use in a short story that my wife and I came up with. I also recently designed another character that I hope to learn more about rigging for character animation with (mainly because he is very simple rig wise). Hopefully if I pick up more of the rigging process I can get more of my characters ready for animation in the future.

Anyway here he is!

Snail Turnaround from Geoff Ind on Vimeo.

Tuesday, 30 April 2013

Tortoise Character design and Digital Painting

At the moment my spaceman character is currently being rigged for animation by a rigger extraordinaire. I am really looking forward to moving him around and giving him some character! I hope to have the rig in my hands soon but in the mean time I thought I'd share a character design I painted up late last year with you. 

I initially designed him for a short film Idea that my wife and I came up with. I still may get back into developing our idea further but for the time being it has been put on a shelf until I have more time to devote to a larger more fully realised short film.

Tortoise Orthographic views.
I really like his shell, especially the dimension that the segmented shapes give it. Hopefully I can find the time to develop him a bit more and them translate him into the 3D world!

Take care,


Friday, 26 April 2013

Spaceman Texturing Complete

Hello everyone, texturing for my spaceman character is now complete! 

After an intense 28 hours, spread out over the last 6 days. I have finally completed the textures for all of his various bits and bobs. I am really happy with the result and I have learned heaps about how to make really high quality textures for a character.

The spaceman character ended up having a whopping 38 separate painted texture maps, each of them controlling a different aspect of of his separate materials. From the metal parts around his ears to the skin of his face, each distinct piece has to have a several texture map's to control how the material reacts to light and shadow and looks in the final render.

I have completed a turnaround render of the character in his default T-pose overnight, so that I can see how his textures react to movement. This allows me to tweak his textures a little further and adjust any problems that a still render does not reveal.

Textured Spaceman Turnaround from Geoff Ind on Vimeo.

Because of the turnaround render I could see that the specular of his fabric skullcap was reacting more like a reflective paint surface and did not have enough variation between the black nylon material and the white mesh material. As a result I have created a new specular map and fixed up the problem. 

I am also not really loving the way the glass of the helmet looks, so I think further research and tweaking is called for to finesse the material attributes a bit more.

Rigging is also now underway which means I should have be able to start injecting character into him very soon, I can't wait!


Wednesday, 24 April 2013

Fresh eyes

Howdy everyone!

Today I wanted to say a few words about the importance of "Fresh Eyes". 

What I mean by fresh eyes is the phenomenon that most artists experience of becoming slowly blinded to the flaws and mistakes of a project over time. This usually happens when you have been spending long periods of time working on an image or, in my case model.

I recently experienced an acute case of "blindness" while I was painting the texture for the Chest pack of my spaceman character. Yesterday I posted my progress on the colour map of my model after painting heaps of detail around the edges of wear and tear. I was pretty pleased with it at the time and had become blinded to the (I realise now) pretty clear flaws in the texture. 

Fortunately a good mate sent me a message praising my efforts (you know who you are, thanks for the critique!), after he had done praising me, I ask for his frank appraisal of my work.....

I got back a 3 paragraph concise description of what was lacking in the render and therefore needed to do more work!

After I had, had a quick cry. I took another hard frank look at my render and I had to agree that all of the areas that my friend had pointed out where completely correct and on the money.

For those of you who have not yet seen yesterday's post, here is where it was; as of 5pm yesterday.

Yesterdays flawed render.
After a day of work to address the notes that I had recieved, here is where it is now.

New and vastly improved render.
The lighting in the image has not changed at all, all of the improvement in the colours and textures are a result of lots of tweaking to the shader and the texture maps.

And with out further ado here is a breakdown of the suggestions I received, the main areas of concern are marked in the origional image in green:

Areas where more work on the textures and shader where needed.
A - The collar that the helmet attaches to was a bit bland in the original render. Admittedly I had not yet started to think about it as I had been concentrating on getting the shell of the chest pack textured and had been pouring all of my efforts in that area.

As a result I have now separated the shell from the collar using a layered shader. Using the same method as the shading network for the body is set up. The Shell has a Blinn material and the Collar is using a Phong material with a tonne of facing ratio!

B - The feedback on this area of the render was;

"Taking some of the scratches towards the edge so that its not so uniform along all the the edges, currently goes, scratch marks > space of good paint > scratch marks." 

I had completely overlooked this. I had been working on the assumption that there was a groove running along the gap inbetween each of the panels of the shell. My thinking at the time was that the paint would have been protected in these areas resulting in less wear. Looking at it again this morning, I realised that my friend was right. It was far too uniform and needed more chaos and randomness around all of the edges.

C - The specular also needed some love, I received the following little tidbit;

"Breaking up your specular as well with some noise of some sort (not just with the bump) could be a bit of an extra tidbit. So the healthy texture has some irregular specular as well."

To get rid of the CG'ness of the specular I have broken it up using a custom painted texture that is a little more grainy than just a flat uniform colour. As my friend has suggested I have also added heaps of subtle bump information which I had not yet gotten to at the time. In the end I have used 3 bump maps, one for a nice grainey bump texture all over, one to raise the level of the stripes of paint and lastly one to create the groves for all of the main scratches and dings in the metal surface.

The last little bit of feedback I got was on the properties of the material itself;

"Not sure if the pack is metal or plastic? or metallyplastic? or plasticy metal? lol but if its more metally you could maybe reduce difffuse and push up spec a bit so theres more contrast. but sometimes alot of those properties are light driven."

Again I had glossed over the fact that my material really did not look like it was made of any definative element. All I had to do here was to tweak the specular sliders and bit and hey presto it was looking more like a painted metal surface.

I am lucky in that I have several people who I look up to and ask for criticism and advice on making my art better. 

If you don't have anyone like that then another good way of getting "Fresh Eyes" on a project is to down tools and get out and about for a few hours or even as long as overnight. When you do get back to the project you will find that you will be able to see most of the flaws in your work.

If you are working on a 2D piece of art then a handy trick I have learned is to flip you canvas around, or to look at your drawing from the back (through the page) this also has the effect of changing your perspective on the image and giving you those "Fresh Eyes".
I hope to have all of the texturing completed at some point tomorrow (I have a day off because it is ANZAC day here in NZ) so, yay I get to spend more time getting this guy looking even cooler!

Lastly I would like to say a big thank you to everyone (you know who you all are!) who has been giving me good constructive feedback and encouragement, it means heaps to me to be able to push myself beyond where I have gotten before and better myself at my craft.

As always thanks to everyone for reading, and keep your eyes peeled for more updates.

Take care,


Tuesday, 23 April 2013

Texturing update, battle damage... lots and lots of battle damage!

Hi there just another update from the world of highly detailed texture maps. 

Currently I am painting a tonne of wear and tear on my characters space suit pack, my head hurts as a result! Here is where I am at the moment, still a few bits and pieces to go but I hope you will agree it starting to look good!

Chest pack of my Spaceman character, almost there with the wear and tear.
Now, back to the detailing...


Monday, 22 April 2013

Texturing nearly complete

Texturing for the spaceman is nearly complete, I was hard at work on the textures and shading network for his main body mesh all weekend which only leaves his chest pack and some small tweaks left to do on his helmet glass shader (I'm still not happy with the way the specular is rendering, I will probably have to paint a custom specular map to get them to look right).

Any who I thought I would give you a sneak peak at progress so far before I do a more comprehensive breakdown of the shaders and textures.

This is my current progress so far, showing my shading network for his layered shader.
His colour render pass is taking a bit too long at the moment it came in a t just over 5 minutes on my computer here at work! It renders heaps faster on my machine at home but it looks like I will still have to do some optimisation so that he renders a little more speedily.

Here is a more close up view.

Spaceman complete textures.

And the layered shader for his body mesh.

Layered shaders are fantastic, especially when texturing an object or character with multiple types of material.

Hope you enjoy, I'll be back soon with another update.

Sunday, 14 April 2013

Painting a realistic eye texture

I just have time for a quick update on my progress working on my spaceman before I dive back into more texturing.

I thought I'd go over my process to paint a realistic eye texture and show you the result as rendered out of Maya. The result below is entirely using a painted colour map and I will continue to tweak the material a little but for all intents and purposes it is pretty much ready for use in a final render (I still need to poly tweak the edges of the pupil so that they are more of a round shape).

This is the final result as rendered from Maya.
Lets start by showing you the basic UV layout of the eye. The way the eye I'm working on has been unwrapped is a little bit unconventional, but it will work fine for my purposes.

Basic eye UV.
As you can see the eye has been unwrapped with the seam running around the hemisphere of the ball with the iris at the pole. The pupil is the small circle off to the top left of the UV. It was modelled as a separate piece of geometry extracted from the centre of the iris, then pushed back into the ball and scaled up slightly to ensure that none of the inside of ball is able to be seen through any gaps.

To paint the eye itself, I first started by blocking in the basic colours of the texture. White for the Sclera, blue for the Iris, and black for the Pupil. All pretty basic stuff, but I think this is a very important step to get the basic colour scheme nailed down so that you don't spend heaps of time painting detail only to find the basic colours you are using don't work together well.

Basic eye Blocking.
I always start any painting, illustration, texture this way so that I can quickly see if the overall scheme of colours are working well. I highly recommend this way of working, as it really does cut down on the amount of fix up work later in the process.

Alright once the basic colours are all blocked in and you are happy with the overall colour scheme, now begins the fun part! I mentioned an earlier post that I always use reference material when painting. For this particular character I had collected some really high resolution photographs of eyes and I wanted to include some of the really amazing detail that you can see when looking at the Iris up close.

To get more interest into the Iris rather than a plain flat blue colour. I painted in some variation to the colours using a soft edged brush, set to a low opacity. Painting using a low opacity setting on the brush (usually between 5% and 25%) allows for gradual blending and build up of colour, so that you don't get the nasty banding when painting at 100% opacity. Using the detail ideas I had got from my gathered reference, I added in a dark blue ring that runs around the Iris, a lighter more subtle blue/green band in the centre and several patches of very bright aqua/green to create little islands of colour in places around the Iris. 

When painting anything that is organic in origin you always need to try and paint randomly. This is easier said than done unfortunately. Practise is the only way to get good at this. The best you can do to start with is try and look for patterns in your brush stroke and eliminate them as they occur. As you get more practised at this you will find that the patternation will appear less and less often in the first place.

to get the filaments of the iris I painted several layers of squiggly lines that run from the centre out to the edges of the Iris in a spoke like pattern. Again when painting your need to keep these as random as you can so the best way to do that is to paint each filament by hand rather than painting a patch and copying and pasting the layer. It's a bit of a pain I know but spending the extra time here will pay dividends later to the overall effect.

Each of the layers of filament's where painted in a different colour and also had varying amounts of patchiness and size. The first two layers are pretty much uniform and are there to get as much coverage as possible. The next three are included to get a little more variation and randomness to the filaments. Its also interesting to note that the last layer of filaments that I painted was in a dark blue colour almost black. This layer helps to add depth to the eye creating the shadows between some of the lighter coloured filaments.

Lastly a layer with a dark blue ring around the outside of the Iris helps it to stand out a bit more from the Sclera by creating more contrast between the white and the blue.

The Pupil is basically a black splodge of colour with an extra layer that has been painted up using low opacity. The extra layer adds in more tones of green and dark blue and is basically there to vary up the black as I don't want any areas of flat colour in any of my textures. 

You don't find areas of flat colour with no variation in nature, so why have it when painting?

Lastly the Sclera needed some detail and variation, again using a soft edged brush set to a low opacity I built up a ring of blue around the iris that bleeds into the white of the eye. I had also noted in the reference material that the white part of the eye has areas of a blueish hue that indicate regions that are thinner and therefore allow the inner colour of the ball itself to show through to the surface. I tied to include a little of this feeling into my texture by painting a very low opacity layer of blue in a circular pattern over the front of the eye. Also present in the reference material was a network of spiderweb like veins, so I have painted a random pattern of veins of varying thickness and density across the front of the eye that all radiate out from the centre.

It is work noting that all of the layers of detail have been further blended in together in the final image through changing the opacity of each of the layers painted in Photshop.

Breakdown of paint layers from Photoshop, combined to create the finished texture map.
Here is the final painted colour texture map.

Final colour texture map.
I hope that you have found this post informative, as always I intend to continue to update my progress on my character as each of the stages get completed.

Take care, Geoff.

Thursday, 11 April 2013

Using reference when planning texture and surfaces for a 3D character.

I have just completed the texture/material swatch sheet for the Spaceman. This sheet will be used to inform allot of my decisions regarding materials for each of the different areas of my character.

I will be using it to help incorporate more detail that I would not normally have thought to include if I there was not a sheet to look at to help guide the texturing process. I also like to use it to identify material attributes that help to distinguish one type of material from another, for example glass and scuffed painted metal. Both are a hard smooth surfaces but glass will have a sharper specular highlight than the metal surface.

Here is my swatch for the character, this version is way smaller than the original file. The idea with a texture/material swatch is that you can zoom right in close to the texture to observe as much of the detail as possible. Unfortunately this means that the actual file usually absolutely ginormous, this one is over 13,000 pixels wide and nearly 10,000 pixels high! Way too large to upload on my blog.

Texture and Surface material swatch sheet, FOR REFERENCE PURPOSES ONLY.
Just a quick word on using reference material.

I personally think using reference material to help inform your craft is a great thing.

Reference when used properly, can't help but make whatever it is you are drawing, painting, sculpting, etc more detailed and rooted in the real world. When used incorrectly however i.e. copied reference material can make your images look disjointed and muddled.

I mainly use reference as a tool to inform me about small details that often get over looked by the lay person. For example I keep a library of images and video files of a huge range of subjects so that if I'm designing or drawing anything from a deserted run down old street to a pristine street I can look at images of ruins, brickwork of varying ages and levels of decay so that I can accurately draw and place small details into my image to help root it in reality. for example where weeds usually start growing from or where dirt and debris usually accumulates. 

I also use reference to help me draw or paint things that I have never painted before, an artist rarely if ever has painted or drawn every single type of tree known to man so when drawing something new, I always use reference to help me get started. A recent example of this was when painting the underwater scene from an earlier post I had never drawn or painted light reflecting off of water before as caustics. So I had to get heaps of reference images of reflections of water to have a look at patterns etc so that my painted caustic patterns looked vaguely realistic and correct at a glance.

Looks like I'll be working on a commercial job for the next week, so I'll try and post more of my progress afterwards.

Wednesday, 10 April 2013

3D Character design, creating UV's for the Spaceman

Hello everyone,

I thought I'd better write a quick update for my latest project so here goes. 

Character modelling is now complete. It took a little longer than I expected because of all of the extra little pieces of geometry that I had forgotten I would need around his arms and under the chest pack etc.

I have also just completed the UVing process which I actually quite enjoyed! 

The UV's for any model, be it a character or other object, after modelling usually look something like a crazy spaghetti monster on steroids, see below.

Spaghetti monster UV's in Maya.
For the non 3D user out there, the UVing process is where you take a three dimensional character or object and cut it up into smaller bits. So that you can lay it out flat, and then paint on the surface in a 2D paint program like Photoshop. 

Its pretty much like just like when you used to pull apart a box template when small, only way more complicated and inside a computer screen.

When approaching UV's for a character, a handy little way that I use to think about it. Is to imagine where all of the seams are on everyday clothing. Nine times out of ten the seams of a 3D character are in very similar spots. This really helps when planning where to cut a character up.

UV's now complete and laid out nicely ready for paint.
One of my favourite things about this UV map is his body in the bottom left of the UV space. It looks exactly like a baby romper suit! Hilarious when I had just done it and realised what it looked like.

As mentioned above, now that the Spaceman is fully UV'd I can bring his UV maps into a 2D paint program. I will be using Adobe Photoshop to paint up his textures and make him look way cooler than the default Lambert shader that he currently has applied.

My next task before painting him is to do some research into the materials that I want to use. I will need to get some good reference material for each. Google images is great for the more generic material types but I will also go running around with my camera for some of the more specific materials and details that I want to include.

So without further ado I'm am going to get stick in, I'll post another update again soon.

Thanks for reading!