Texturing characters in Autodesk Maya with Arnold | Yone Santana | Skillshare

Texturing characters in Autodesk Maya with Arnold

Yone Santana, Animator & Coach

Texturing characters in Autodesk Maya with Arnold

Yone Santana, Animator & Coach

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9 Lessons (39m)
    • 1. Class Introduction

    • 2. Setting up Maya

    • 3. Eye materials

    • 4. Texturing the eyes

    • 5. Skin and sub-surface scattering

    • 6. Skin texture maps

    • 7. UV's and hair

    • 8. Shading the hair

    • 9. Render & class project

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About This Class

In this class you'll learn how to create shaders and textures for 3D characters using the Arnold render engine within Maya.

Texturing will allow you to make believable materials for you character's Skin, eyes and hair. For this class you will need a copy of Maya, 2017 or higher, and some experience creating textures in Photoshop. 

Yone will take you through his process of taking a character which used old Mental Ray materials and how to upgrade them for use in Arnold. Using the Arnold standard surface material he will show how you can quickly develop textures and create stunning renders.

Meet Your Teacher

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Yone Santana

Animator & Coach



My name is Yone Santana and I’m a freelance animator, currently living and working in the UK. I love sharing the knowledge and skills I have picked up during my career and turning them into easy to follow tutorials. I’ve also had the great fortune of also teaching all things Maya for over 10 years at a university level.


You can find me on Twitter and learn more about Maya on my Youtube Channel.

If you want to learn the core skills to become an animator, then you are in the right place.

See full profile

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1. Class Introduction: Hi, my name is Gianni and I'm a freelance animator currently living and working in the UK. Most of my work has been in commercials and now I'm working in the video game industry. I love sharing my knowledge of Maya animation. I've put this free class on Skillshare for everyone who wants to learn how to texture and render great looking characters in Maya using their new render engine Arnold. The techniques that I'm going to share with you are all about creating quick and efficient stylized textures for the purpose of creating believable looking eyes, skin and character hair. These techniques are absolutely great if you need to present some 3D work or maybe if you're getting ready to present your portfolio. I'm sharing this class with the Scotia Community. I encourage you to take part, either follow along and submit a project or if you want to just watch and leave some comments in the community section. If you like what you see, I also encourage you to check out some of my other classes, where I'm talking specifically about animating in Maya. I've already got two classes on Skillshare about how to create dynamic poses for animation, and how to create effective spacing for animation. For this class, you will need a computer with a copy of Maya and Photoshop. You can use another image editing software if you don't have Photoshop. You'll also need a 3D character. If you don't have one of these, I've left some links to some free rigs that you can download from the internet, and you can texture one of those. Some knowledge of Maya is necessary for this class but you can always ask me questions in the community section for things you don't know. You can follow me on Skillshare to receive updates of when my next class is coming up or if you just want to say hello. You can also find me on social media. If you want to learn how to texture characters in Arnold quickly and effectively, then dive straight into the class. I can't wait to see what renders you guys come up with. 2. Setting up Maya: So one of the first thing that's going to come up is this warning saying that there's mental ray nodes inside of our scene. What we need to do is replace some of the materials so that Arnold can work with them properly. For that, we're going to go over to the script editor, and from there we'll go into file, open script, and we'll navigate through our hard drive to look for our solid-angle folder which came with Maya. We'll look for the latest version of Maya 2019, go into Docs and look for this Python script. Well then double-click the script press the run button and go ahead and run the script. That should update all the mental ray materials to be lamberts so that they can be easily rendered by Arnold. To see the textures however, we're going to go ahead and go into Arnold Lights and create a sky-dome light. Then we will open up the render view and we'll dock it into our screen and I'll jumping through quite a few layouts of screens so that you guys can follow along with what I'm doing. Now that we've got light set up, we'll just hit the render button and we'll see that we get this very flat type of texturing over here. You can notice that even the transparency of Kayla's glasses has disappeared as well, but that's okay. We'll bring all of that stuff back. What I am going to do is that I'm going to create a display layer and I'm going to call it glasses, and I'm going to select the glasses and I'm going to actually hide them away, just because I want to be able to just focus on texturing the eyes. I'll open up the hyper shade and now I'm going to build myself a custom layout. Most of the time would be using the hyper shade on a second monitor, but for the sake of YouTube, I'm going to make sure that you can see everything that I'm doing. I'll close down the material shader, the property inspector, and then I'll just dock this onto the right-hand side of my screen. I'll take the render view and plunkett over here on the left. I'll be using the attribute editor to look at all the texture material properties that I have over there. I just want to have a render view, a perspective view, and then I want to have all of my materials over here on the right so I can go replacing the key materials that we are going to be working in the scene. It's really handy that in Maya 2019, we can go over here, we can save our current layout and we can give our custom work space a unique name. I'll just call this one shading custom and I can come back to it whenever I want. If you ever don't want the layout of your screen to change, you can hit the little lock pad at the top right hand corner and none of your screens can be moved or destroyed by accident. 3. Eye materials: Looking at Kayla will start off by texturing the eyes. We want the eyes to be slightly reflective. They've got some transparent areas to them as well and a little bit of shininess from the wetness around the eye. If I select the main ball of the, we will see that it's made out of a single shape. But that shape has various materials that are texturing it. One for the white of the eye, one for the color, and one for the pupil in the middle over there. Now, all of these materials are currently blends or lambert or very standard type of materials and we want to upgrade them to an Arnold material. I'll go into shaders inside of the Arnold tab and I'll look for the ai-standard-surface shader. I'll make my first material for the cornea, which is the little transparent bubble that goes across the front of the eye over there. This material will be transparent and it wants to have a little bit of reflection and refraction tied to it. Now, if I select the geometry for the cornea and I assign my new standard shader. Nothing's happening in the view port. This is something that I ran into in terms of the normals of this material are actually the wrong way round. If I go into the mesh display, and flip the normals, you'll see that now I've got the white standard Arnold material applied to it. Another thing that I want to do is go ahead and I want to select all of the faces here, and I want to actually smooth them out a little bit as well. They edges, I just want to turn them into a soft edges. I don't know why this was inverted. Maybe it was something to do with mental ray, but importantly and Arnold, this is not going to work. We want to make sure that we have our material will take its base color down because that's not going to be important. But what we want to do is boost the transmission up to one. It's going to make the material transparent and will change the index of refraction or the IRR to one, three, three. It's a bit more water-like. Now, this is going to create a cool effect that if we look at the eye now from the side, the material's going to distort the shape of the pupil if we look at it on the side, but if we look at it head on, it is going to be perfect and on distorted. That little effect with the eyes is going to be great and what we want to do also is make sure that we have the material set as not being opaque. We're going to go into our objects settings and we will choose the Arnold tab and we'll scroll down and we'll look for the opaque checkbox and makes sure that that is turned off. You can use this same technique for creating any other transparent materials that your character may have. As an example, Kayla's glasses. We could also create another material and give it a slightly different index of refraction and that would also be transparent as well. Remember that anything that has a transparency that you want rendered not to have a solid shadow. You have to take the tick box of the opacity and turn that off in the object properties. Now that we've got the eye setup and that they've got this nice distortion over here, we should start thinking about the rest of the materials that we're going to need to use for the eye. We'll go ahead and we'll create a standard material for the whites of the eyes. If we ever want to check that we're selecting the correct object, we can click in a view-port opener outliner, and press f on our keyboard to navigate in the outliner to the group where the geometry is selected. If I apply the material we just made, you'll see that I can texture both eyes at the same time. But actually this object has multiple materials. I've just turned her iris and her pupil completely white as well. Let me go back a second and set that up properly. Better way of doing this might be to go ahead and just make the other two materials that we might have to use for texture in the eye. I'll make another standard surface, and I will call this ai-eye-blue just for the blue of the color of her eyes, although I could probably call it iris as well. What I can do next is just set up the base color to choose a blue like the similar material that we had from mental ray and then I will go ahead and set a color for the pupil. I'm going to do this by going and choosing an ai-flat material. Now, the flat material is great for when you want to make graphic type things and I'll just go ahead and I'll take this material and I will turn it to black. Now, again, the important thing about the flat material is that this will be 100 percent black. It will ignore all of the lighting properties that she might be under. With those three materials, we can go ahead and start selecting the faces that we have to texture. We'll come into here into the eye and we will make a selection of faces and to give myself a little bit more real estate, I'm going to go up here and choose modeling expert mode just so that maximizes my view and I can see that I'm missing a ring here of faces that I haven't selected yet and by pressing shift and period, I can grow my selection. That way I can come here right-click and choose assign new material and look for my, ai-flat material which I probably should rename at some point. Then I'll come over and press control I on my keyboard to invert my selection and I'm going to apply the eye blue material to the rest of the eye. Then I'm going to use shift and comma to shrink my selection and I know her iris is actually only four polygons wide because I counted it earlier. I'm going to apply the eye white material to the rest of my selection, just because I find that a quicker way of working. I want to texture the eye in this way with multiple materials because Kayla has some rick controls that actually allow us to control the size of her pupil and iris. I want to respect that and make sure that it's textured in the same way. I don't create any weirdness later on when I'm animating. Now's a good time to go back to our custom shading layout and check to see how the materials are looking in the render. The good thing about having a different material for the eye color is you can very quickly make any changes and choose any crazy color of eye color that you might want. 4. Texturing the eyes: Now let me select our light and go into its color and we're going to look for a physical sky shader. This is going to create a very simple background environment. That's what's going to allow me to evaluate the reflections that are going to be in my scene. Now the white of the eye is going to be slightly moist and it should reflect a little bit of the environment. But if we don't have an environment there, it's a bit hard for us to evaluate. I can take the light again and boost up its exposure to make the eyes a little bit clearer. Now let's zoom in and have a look at what we need to do to get a little bit of reflectivity in the eye. Well, we'll go ahead and we'll select our eye white material. I'm going to do this by just adding a little bit of a metal tint to the eyes. It's probably not the best way of doing it. I could probably get the better results with a coat property inside of the shader. But I'm really going for something that's more stylized and less realistic. So its trade off between choosing if you want to keep her in the realm of cartoonists or you want to use something that is very realistic type of lighting. I think that I can actually get away with using the metalness property just to give a little bit of that reflexivity right there in the eye. I want go ahead and add some more detail to the iris materials. I'll select it and choose its base color and I'll look for a ramp so I can create a gradient across the iris. I'm going to go ahead and change the type of gradient to a circular ramp. Then I'm going to choose some very loud and easy to distinguish colors. In my case, I'll just choose red and blue just so that I can figure out where the gradient starts on which part of the pupil and where it ends. I'll take the sliders of the gradient and after coloring them, I'll just move them around until I can see where the gradient starts and where it ends. I'm currently getting some unexpected results here because I can't seem to find the edge no matter where I move this and have to go and check the UVs because there seems to be a problem here. I'll open up the UV layout and select the eye. There we go. Currently we have two UV's probably for the front and the back of the eye. That's what screwing up my gradient. A quick way of fixing this is to go back into the hyper shade and I will select the material and reveal all the connections with this button. I'm going to go back into the place to the texture node. I'm going to look at the UV tiling and I'm going to change the repeat U and the repeat V to 2. You could do this as well by fixing the entire UVs, but this is just quicker. Now if I go back to the UV viewer, I can select the eye and you can see that now I've got the tiling texture so that hopefully should put the texture on the current UV in the right way. I can now select my material again, go into the gradient ramp, and choose where the gradient starts and where it ends. I want the blue to be on the outside of the gradient and I want the red just to start just before the pupil. I think that works there. I'm then going to change the color to make it something more subtle. I'll choose a pale blue for the inside of the iris. Then the exterior color I'll turn it to a slightly darker blue like that and they'll create a nice little gradient. To add a little bit of detail, I will add a third color in between the two, slightly closer to the outside. I'll make sure that that's a very saturated and bright color like that. I've got a nice variance over there. I'll just play around with the hue and saturation. Render that out. Hey presto, we start having a little bit of a color change going across the iris. Very nice. 5. Skin and sub-surface scattering: So now we're going to move on and start creating a shader for the skin, and we'll start off again with a Standard Surface material. But it's so flexible that we can actually go ahead and start using some of the subsurface properties inside here. So I'll Rename this to AI skinhead. I'll apply it to the head geometry. The first thing I'll do is just choose a base color, which is a skinny type of fleshy tone over here. Now if I was in a rush, I could maybe get away with just using this base color. But what I'm going to do is go over and choose the base color texture swatch over here and choose a file. I'll bring in a base color.EXE file that I made earlier in true Blue Peter fashion, and that will add some subtle color changes across the face thanks to the fact that Kayla has UVs on her base geometry. Now, the thing that's going to make the skin look realistic is having Subsurface scattering, which will mix multiple materials depending on the intensity of the light. For that, what I need to do is go into the Render Settings and we're going to start adding some AOVs. Specifically, I'm going to go into the list and choose the AOV albedo, the diffuse color, the diffuse direct and indirect, and I'm going to be adding them onto my AOV list by clicking on the "Double Arrow" button after I've made a selection. So this material is going to be a mix of materials and it's going to be looking at the diffuse channel, is going to be looking at the specular in both the indirect and direct channels and then the SSS or subsurface scattering and we'll choose all of the SSS AOVs. So that we can see what this effect looks like in our Render view, and it will just add a little bit of time to our Render, but it will really allow us to see all the noise and all the problems which are there. So if I Render the screen out, you'll see that I can now have a list under the Beauty Panel over here, and I can scrap through all of the different AOVs that Arnold is Rendering out. So I can see only the diffuse, only the specular, only the beauty pass, which is everything with all the textures and all the lights all layered together. So with that, what we're going to do is that we're also going to add a specular map to this as well, which is another texture file which I made earlier as well, and this texture is just like a very soft noise that I painted on top of Kayla's skin. Just add a little bit of the text detail of the pores. Now, I maybe could have done this with a procedural noise texture, but I really haven't found one that looks great. So I just went ahead and did the effort and actually painted it in by hand. So we'll connect the texture file to the specular weight. Now if I press the "Isolates Select" button over here and choose the speculum map. I should see in my viewport what the specular map looks like, except that my viewport wasn't updated. So I've put a new video in here just to show you guys that it's a very fine noise that's just painted on top of that. Again, that's just some human skin noise over there to make it a little bit irregular when the light shines on it. We can also have a look at what the diffuse channel actually looks like as well. You see that it's just some very lightly painted colors on the skin. So now if we go into the AOVs and start looking at the specular channel in isolation. We can start seeing the glow that the skin has. If we play around with the roughness property, we can make the skin look shinier and slightly more sweaty, or we can add it a little bit of a higher number and make it look a little bit more diffuse and cloth like. I'm going to give the roughness of value of about 0.35 and that should give me a good result. Now, one way of controlling how intense a texture map is, is using multiply and divide nodes in the hypershade view. Now multiply divides are great because they allow me to increase the value of a texture or reduce it very much the same way that we can play away with the slider. If I press "Tab" and type in multiply divide, I can create a multiply divide node that I can connect from out color into input one, and we can connect the output x into the specular channel. As the specular is a grayscale image. It really doesn't matter if we grab x, y, or z just to connect them up like that. Now we can multiply the value of the texture by three, and we will see that the specular brightness increases in our viewport over here. If we isolate the selection, you'll see that this turns red just because we've taken the first channel, that goes out of the texture which is red. If we type into the G and B channels over there. You'll see that if we put three on everything, it goes back to being a white or gray color. This is going to be a great way of controlling the intensity of different parts of your textured materials and should work across almost any of the standard textures that we're going to use today. Now we're going to create the subsurface property inside of the standard material. Subsurface scattering will allow us to mix different colors together based on how strong the light can interpenetrate the surface. As we turn up the subsurface weight, we'll go applying the effect to the model and Kayla's face will start turning white, and subsurface will allow light to go through the skin and actually pick up certain colors. Now, to build a human character, we're going to be playing around with having a subdermal layer. Which is kind of like a yellow, fatty type of color, which is just under the baseline of the skin. Then there is a deeper level of color which is normally red as well, which is the blood vessels which are under the skin, and that color will also come through as well. So we'll choose something like a deep dark red. These colors will be all mixed together and will be picked up by the Renderer and we'll get back more skin like effect. Right now she looks very waxy and almost made out of a modeling material. Arnold refers to these colors as the subsurface color for the yellow, and radius for the red color. So for the sub dermal colors to be visible, we need to add another light into our scene by going to Create Lights and Create a directional light. This directional light will just scale it up and place it so that it is illuminating Kayla from behind. So we might try and see if we can get the light just to shine behind her left ear like this, and hopefully we should see some colors starting to bleed through. Let's increase the exposure of the lights to around six, and we should start seeing the effect starting to come through if we zoom into the ear. Now the effect is currently quite subtle, so we can come back to the material and if we needed to, we could change the scale, which would account for having objects of different sizes and is like a multiplier to allow us to see if the effect is working or not. So if I put it to about 0.6, we should start seeing a rosy red color coming in through the top of the ear over here. We can also go into our AOVs and check through the SSS AOV, which will show us all of the subsurface scattering materials together. We should go and have a look at the SSS indirect. The subsurface effect is applied currently equally across the entire head, and that's going to give us very unnatural look. What we need to do is create a texture map to control where the subsurface scattering actually comes in. So the areas like the ears and the cheeks can have more of the subsurface effect applied to it. 6. Skin texture maps: In the Hypershade, we're going to move all of the materials to the side. Because we're pushed for time, we're actually going to create the subdermal maps based on the diffuse color by using an AI color correct node. This node will allow me to take the out color of any existing texture and change its values to adjust the color in any way we see fit. We can then take the out of this node and plug it into the subsurface color. We'll then give the node a distinctive name like CC_yellow, and we'll modify the attributes of the node to change our original diffuse texture into a yellowish type of color by playing around with the settings of the Hue, the Gamma, the Saturation, and the Contrast. We're going to go ahead and make the next color correct node by selecting our existing yellow node and pressing Control D on our keyboard to duplicate it. We will then rename this to CC_red for that deeper subdermal layer, and we'll plug in again our diffuse texture, and we'll wire this up to the subsurface radius property this time. Now we'll go back into the adjustments and we'll try to change the saturation, and the hue, and gamma to make a darker red tone. You have to think that this layer is actually under the skin. It's actually fairly dark. After we've finished with our adjustments, we can go into the AOVs and checkout the subsurface scattering layer, the subsurface albedo, which is the base color with no lighting, and then check the indirect and the direct lighting passes as well. We should start seeing especially in the indirect pass, the transparency and translucency of the skin coming through, especially around the section of the ear. This will vary from shot to shot and from character to character, and it really depends on how big your characters are and also where the lights are placed inside of your scene. In my case, making a small adjustment to change the scale to 0.7 actually made the effect come out a little bit further. If we went back to our original scene, we can now see that Kayla has again, a very waxy, tan the type of skin color right now by selecting the subsurface weight and adding a file to add a texture map to it. We'll navigate through a hard drive to an image that I made earlier, which again is a black and white image, but will control the levels of the subsurface effect. Now if we have a quick test render over here, we can start seeing that some areas of the face are less affected by the subsurface scattering. But let's isolate the texture and have a look at it in a little more detail. Now, the areas you can feel on your face that have the bones most closer to the surface like the bridge of the nose, the chin are going to be painted a dark color which won't allow subsurface scattering to come through. The more fleshy areas like the ears and the lips are going to have a lot more subsurface scattering occurring in them. Now the effect is still a little bit strong, so what we're going to do is that we're going to tone it down by adding another multiply divide node. In the Hypershade, we will press on Tab and add a multiply divide node, and we'll take the out color of the texture and plug the output x into the subsurface property. Now, let's zoom into the face a little bit and look at the overall effect. In the AOV, we can already see the texture map taking effect, and in the multiply node, we will times all the channels by 0.5 so that the effect is halved. You can also see some skin color coming back in the viewport as well. Let's head back to the beauty pass, and we'll see that Kayla now has a more subtle effect with her subsurface scattering, and it's a nice blend between the base color layer and the subsurface scattering. As a summary, I did exactly the same process for the arm. To texture of the skin, you always start off by choosing a base color, which should normally be a map that is painted in Photoshop, or in ZBrush, or any other editing program that you like, and it should define the main textures of the skin in terms of its color. Choose to use AOVs in Arnold by setting them up, and use them for seeing if the subsurface scattering will come through. Also, it's a great place to see if there's a lot of noise in a specific channel, and that you might need to increase your sampling when rendering. We add a specular map, which will add a little bit of shine to the skin, which can be oily, grease, or sweat as well, and a little bit of this helps keep the skin alive. In the subsurface scattering section, we'll be trying to create the skin by thinking about the fatty materials which are just under the surface of the skin, and the blood which is deep underneath, and we'll be able to check this out by having a light that shines through the object and looking for this effect inside the a AOVs. We also had a quick look at using color correct nodes and also multiply divide nodes. There is a whole load of other nodes that you can use inside of the Hypershade to help control your textures, and we'll go through a few of those in future as well. 7. UV's and hair: So if you've made it this far in the tutorial, well done, but now it's come the time for us to look at how to update Kayla's hair. There's various strategies that we could use in order to create a more appealing hair in Arnold, but I'd probably need an entire series of tutorials just to talk about hair, so maybe a note for the future. Now, I'm going to cover just two techniques here, which is talking about UVs and also how to build some textures and shader detail. That's going to be very much the way that I'm going to approach this because Kayla currently has just a flat color for her hair and I want to add a little bit of subtle detail. Now, the theme of this video has been updating old assets and making them appropriate in Arnold, which means that the main problem is that we have to deal with the workflow of other artists that we haven't met. In this case, if I click on Kayla's hair and I check the UVs, we're going to see that the UVs aren't great. Actually, even though the hair has UVs, they've all been exploded and added into the main workspace area. They haven't got the right size, they haven't got the right direction, and they're not going to be very useful to paint unless we have something like a 10k texture. This means that we are going to have to go in and remake the UVs. So the first fix that we want to apply is to have only one shell per piece of hair geometry. We're going to do this by selecting all the faces in each clump of hair and we're going to add just a planar or a camera based projection, just so that all the shells are tied to different parts of the hair and then we'll organize them later. After we've gone through this, we're going to select each clump of hair and hide the rest of geometry by pressing Control 1, and that will work in isolation. What we're going to do is select a loop that goes around the clump of hair in a useful position and then we'll use the Cut tool to add a shell border. We'll then unwrap it and if we ever run into any problems, we can actually unfold an incomplete shell with only some of the edges selected and then in the UV viewer, we can actually use the Cut tool to just draw along the edges and separate them out. We'll then orient our shells across the workspace and we'll tidy this up at a later date. More complex areas of geometry like the pony tail, we'll need multiple shells. So we'll hide the seams along the dips in the geometry and we'll try to find areas that the seam in the UVs are not going to be too obvious when we look at them. In Photoshop, what I'm going to do is make two textures. The first one, which is going to be a guide texture, which will not be in the final render, and this would just be with some bright colors and with some patterns like some stripes so that I can clearly see the direction of each clump of hair. The second texture I'll make will be a tileable hair texture which I'll make from some brushes and I'll use this as the diffuse color. So I'll be painting in some darker and lighter strands of hair just with the Photoshop brush. I'll save both of these images out as EXR and go back to Maya, where I will add my guide texture to an Arnold standard material and I'll add this shader to the geometry. This way we can then go into each clump of hair geometry and unfold the UVs into a shape that allows the strands to flow across the geometry. Now, I didn't model or create the initial UV, so we've got a little bit of work that we need to do here. As my initial unfold is not giving me the result I looking for, I'm going to expand the edges of the UV shell by choosing Contour Stretch tool. This will put all of the UVs to fill the UV square on the UV window. We'll then select the edge loops by double-clicking them with a single edge and we'll choose a line horizontal. We can speed things up as I'm going to align all of the edge loops by pressing G on the keyboard to repeat the last command. I'll go ahead and I'll unfold this so that all the UVs are vertically and horizontally aligned. We can then scale the UV shell into a thin strip on the x-axis and check to see how the viewport is looking. If we do find any unusual stretching here, we can right-click to bring up the contextual menus for the UV tools and we can grab tools like the Relax or the Grab Brush to move around and reshape the UVs. Now, to complete the hair, you will have to spend some time aligning the UVs, but because there's so many pieces of hair to fix, I'm going to prioritize on folding the larger clumps of hair like the ones at the front, on the top of the head, and thanks to the fact of having a tileable texture, I don't need to be too precise when I'm placing my UV shells and I can have them either off to the side or slightly out of place in the UV template. I'm doing all of this in an effort to save time rather than being precise. Since this can be a very labor-intensive process, I'm happy to do a few shortcuts here as long as the overall look of the hair is looking all right. 8. Shading the hair: The flow of the clumps of hair is looking good, so I will swap out the guide color for the diffuse texture that I made in Photoshop earlier. If there's still any errors in the stretching or look of the UV's, they should hopefully be hidden away as the shape of the individual strands on the diffuse texture is much thinner and it's going to be much harder to spot in the final texture. I also create a specular texture which was based on the diffuse texture, by turning it into black and white, and I added some highlights to individual strands of hair. The specular texture again is a black and white texture where the areas which are white are most reflective and the areas that are black don't reflect at all. It's also good to choose a specular color which is complimentary of your main hair color. In my case, I'm adding a slight yellow tint to the specular. You can feel free to experiment with any other colors that you might find appropriate. Don't go too crazy. I'll also add lastly, a sheen property in the Arnold Shadder, and sheen will create a nice shiny edge around the hair when the light hits it at certain angles. It's very similar to a Fresnel Effect. I'll choose a yellow color to match the specular, and I'm going to turn the roughness of the effect down to 0.1. This will limit to how large the sheen effect is when the light hits it. With all these little processes done here, I've shown you a quick summary of how you can complete your hair. Again, I've brushed over this very quickly, but it's mostly to spare you the pain of watching me unwrap and unfold UV's for about a few hours. 9. Render & class project: Okay. It's project time. I hope you've learned a lot in this class and now it's time to put your skills to the test. I want you to take your 3-D character and I want you to texture it using the Arnold standard surface material. I want you to go ahead and start deciding how you're going to use the shaders for making the eyes, adding some subsurface scattering to the skin and also creating the hair and adding a little bit of that [inaudible] effect that we created at the end. Now I'm going to add a file to the project section of the class. There you can find a Maya file that will contain a simple photo backdrop and three Arnold lights already setup so you don't have to spend time writing your 3-D scene, it's already done for you. So just focus on creating the textures. Now when you import your own character into my scene, you might have to make a few changes and you may have to move the lights surround and change their individual intensity. Now Maya has a great lighting tool that allows you to see all of the lights inside of your scene at the same time. So you can change the lights color, and exposure from one simple interface. For the rendering, you just have to go into the Render Settings inside of Maya and open the Arnold Render Settings. Here or we have to do is turn on the camera AA or anti-aliasing quality up and that will improve the overall finish of our image and make it less noisy. Now, don't go too crazy because if you put numbers that are too big, you're renders will take a long time as the higher of the sample quality, the higher the time it will take for your final image to render. It's perfectly fine to hand in images with a little bit of noise, especially if you're working on a laptop or an older computer as the rendering time might take longer. Thanks very much for watching. I hope you guys know now a little bit more about texturing using Maya and Arnold and hopefully it's not so intimidating for you guys anymore. I'll be looking forward to see you guys in my next class and also check out some of my other classes on skill share. Even if you follow and just leave a comment in the community section, I'd really appreciate that and I'm looking forward to see you guys next time in my next class. Until then, take care.