Create a World War II Era Dogfighter

Step 49

Now we are going to work on the geometry NOSE of the airplane. As a reference, see steps 14, 15 and 28-33 in order to complete this step. The fur is going to be generated just in the white areas as shown below. To do this, paint a mask similar to that shown in the image below using Viewport Canvas and save with the name Mask_d.jpg. Select the NOSE of the airplane, isolate your selection and apply a Hair Mesh Brush. An orange wire line will appear on the surrounding model and use the following settings:

• (A) HairMesh Brush. Under parameters, set scale to 0.1m, select Autocomb with a setting of 40 and brush from front to back, see step 13 as reference.
• (B) Hair Generate. Under parameters, click/tick Set Hair Count per Area and set the Count/Area value to 5000.0, Thickness to 0.3m, Thickness Curve as per step 15 and multiplier set to x.001. Load the mask Mask_d.jpg, refer to step 30 in order to load the mask and load the same material as step 28.
• (C) HairStyle Wisps Modifier. Under parameters, set Hair Strands per Wisp to 7, under Wisp Properties set Radius to 0.05m and Length Var. to 20.0 and under Subdivision set value of 3 in Add. Steps.
• (D) Hairstyle Frizz Modifier. Under the amount properties, set the Amount to 0.03, Stretch % to 0.0 and Frequency to 400.
• (E) Your stack will look like the image below.

Step 50

Now we are going to work on the TOP_DETAIL of the airplane. As a reference, see steps 14,15, 28 and 31-33 in order to complete this step. Select the element, isolate it and apply a Hair Mesh Brush.An orange wire line will appear on the surrounding model and use the following settings:

• (A) HairMesh Brush. Under parameters, set scale to 0.4m and select Autocomb with a setting of 50 and brush from top to bottom, see step 13 as reference.
• (B) Hair Generate. Under parameters, click/tick Set Hair Count per Area and set the Count/Area value to 1000.0, Thickness to 0.9m, Thickness Curve as per step 15 and multiplier set to x.001. Load the same material as step 28.
• (C) HairStyle Wisps Modifier. Under parameters, set Hair Strands per Wisp to 10, under Wisp Properties set Radius to 0.17m and Length Var. to 20.0 and under Subdivision set value of 3 in Add. Steps.
• (D) Hairstyle Frizz Modifier. Under the amount properties, set the Amount to 0.15, Stretch % to 0.0 and Frequency to 30.
• (E) Your stack will look like the image below.
• Stroke set to none

Step 51

Now we are going to set up a material for the blue areas in the image below. The process is going to be the same as steps 1627. The main difference is that in step 22 you will load Texture_B_Lighter.jpg instead and in step 27 you will load Texture_B.jpg. At the end of this process rename you material to MTL_D.

Step 52

Now we are going to work on the geometry STRUTS of the landing gear. Select the STRUTS, isolate them and apply a Hair Mesh Brush. An orange wire line will appear on the surrounding model.

Select the Auto Comb option and set the value to 40.

Step 53

Now we are going to generate fur for these elements. As a reference, see steps 42. The settings are as follows:

• (A) HairMesh Brush. Under parameters, set scale to 0.2m and brush as in step 38.
• (B) Hair Generate. Under parameters, click/tick Set Hair Count per Area and set the Count/Area value to 2000.0, Thickness to 0.9m, Thickness Curve as per step 15 and multiplier set to x.001. Load the MTL_D into material slot, see step 28 as a reference.
• (C) HairStyle Wisps Modifier. Under parameters, set Hair Strands per Wisp to 25, under Wisp Properties set Radius to 0.08m, Length Var. to 20.0, Fuzziness to 30.0 and UVW Span to 0.5 and under Subdivision set value of 3 in Add. Steps.
• (D) Hairstyle Frizz Modifier. Under the amount properties, set the Amount to 0.07, Stretch % to 0.0 and Frequency to 10.
• (E) Your stack will look like the image below.

Step 54

Now we are going to work on the propeller so select the propeller, isolate it and apply a Hair Mesh Brush. An orange wire line will appear on the surrounding model.
Select the Auto Comb option and set a value to 40.

Step 55

Now we are going to generate fur for these elements. As a reference, see steps 42. The settings are as follows:

• (A) HairMesh Brush. Under parameters, set scale to 0.31m and brush as in step 38.
• (B) Hair Generate. Under parameters, click/tick Set Hair Count per Area and set the Count/Area value to 1000.0, Thickness to 0.8m, Thickness Curve as per step 15 and multiplier set to x.001. Load the MTL_D into material slot, see step 28 as a reference.
• (C) HairStyle Wisps Modifier. Under parameters, set Hair Strands per Wisp to 45, under Wisp Properties set Radius to 0.1m, Length Var. to 20.0, Fuzziness to 30.0 and UVW Span to 0.5 and under Subdivision set value of 3 in Add. Steps.
• (D) Hairstyle Frizz Modifier. Under the amount properties, set the Amount to 0.07, Stretch % to 0.0 and Frequency to 30.
• (E) Your stack will look like the image below.

Step 56

Now we are going to work on the geometry WHEEL of the airplane. As a reference, see steps 14, 15, 28-33. The fur is going to be generated just in the white areas as shown below. To do this, paint a mask similar to that shown in the image below using Viewport Canvas and save with the name Mask_e.jpg. Select the element, isolate it and apply a Hair Mesh Brush. An orange wire line will appear on the surrounding model. Use the Direct Brush to brush the wheels from top to bottom.
The settings are as follows:

• (A) HairMesh Brush. Under parameters, set scale to 0.1m and brush as in step 38.
• (B) Hair Generate. Under parameters, click/tick Set Hair Count per Area and set the Count/Area value to 500.0, Thickness to 0.75m, Thickness Curve as per step 15 and multiplier set to x.001. Load the mask Mask_e.jpg, refer to step 30. Load MTL_D into material slot, see step 28 as a reference.
• (C) HairStyle Wisps Modifier. Under parameters, set Hair Strands per Wisp to 22, under Wisp Properties set Radius to 0.1m and Length Var. to 20.0.
• (D) Hairstyle Frizz Modifier. Under the amount properties, set the Amount to 0.15, Stretch % to 0.0 and Frequency to 12.
• (E) Your stack will look like the image below.

Step 57

Now we are about ready to send the render. Press C to go the camera view and click the Render Production button.

Step 58

After the airplane has rendered, save the image as a .TIFF or .EXR in which you can include an alpha channel to separate the airplane from the background when in Photoshop.

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2. Compile the Renders

Step 1

The post production starts with 3 renders, one for the background and shadow, and two lengths of fur. Compositing two renders with varying lengths allows for some creative flexibility, and also means less time spent in 3D.Open the renders and locate the Alpha Channels located in the Channels dialogue box.

Step 2

Apply the 3D generated Alpha Channel as a Mask (Command + Click on the Channel) and Duplicate your Layer (Right Click > Duplicate Layer) both renders into the Background render.

Here the basis of the composite Layer Stack. Rename your Layers appropriately.

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3. Blend the Renders

Step 1

Here we will start to bring through elements of the shorter fur. Replace the Layer Mask onto a Group and then Mask the Layer inside. This method allows total flexibility in terms of working with the Layer, and adding Adjustment Layers etc. without having to clip them to the Layer. Its all bound within the constraints of the Group Mask.

Step 2

Invert the Mask (Command + I) and Brush through the desired elements of the shorter fur version. Especially the detailed parts which may have become ‘overgrown’.

Step 3

Here we’ll fix a ‘blown out’ area in the render. Using the Lasso tool, select an area of well exposed, detailed fur. Feather the edge 50 Pixels (Shift + F6) and Copy Merged (Shift + Command + C) and Paste (Command + V). Add then patch over the area, and using a Soft-Edged-Brush erase the unwanted areas.

Step 4

Merge the renders and patch to one Merged Layer. Select all your Layers, except for the background, and Duplicate them by either dragging them onto the new Layer icon, or ‘right click’ Duplicate. Duplicating will give you the chance to retrieve parts of the unmerged version if you need it. Merge the new Layers. (Command + E).

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4. Create Edge Fur

Step 1

With the Merged Layer ready, configure a standard Brush, set the Shape Dynamics to Pen Pressure and select the Smudge tool, with ‘Sample all Layers’ in the top menu bar Unchecked. This will allow the pixels to be smudged from the Merged Layer outwards to resemble stray fur. With the Shape Dynamics set to Pen Pressure, the Brush will end with a fine tip.

Your Brush should look like this.

Repeat the process of dragging out, from the edge of the Layer, making a new piece of fur each time.

The Size and the Strength of the Smudge Tool play a large part in the type of smudge you’ll achieve. A Larger Brush gives a stronger effect, while a percentage of Strength less than 75% will not smudge very far, more than 90% tends to smudge too much. Toggle around in between these values and you’ll find the sweet spot.

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5. Composite Nose Texture

Create a Group Mask for the nose. Note how dark the nose is compared to the reddish / yellow fur around it; this means we create a Mask for it easily via the Channels.

Step 1

Bring up the Channels Dialogue box. Have a look through them by clicking on them one at a time, you’ll begin to see the varying levels of contrast inherent within them. Especially in our case; the Red Channel. Duplicate the Red Channel by dragging it to the New Layer Icon.

Step 2

To achieve a really crisp Mask and area to work our Dog Nose texture into; we need to make the nose black and the area around it white. So bring up the Levels dialogue while working on the Red Channel Copy (Command + L ) and select the Dark Eyedropper on the dark nose.

Step 3

And then the light Eyedropper on the lighter parts. This gives us a really good ‘crunch’ for our Mask.

Step 4

While still in the Duplicated Red Channel, Brush out the unwanted areas. Make sure you haven’t gone too contrasty; leave a little room throughout the Midtone this will allow for a smooth transition.

Step 5

Select the Channel (Command + click) on the Channel, and come back to the Layers Palette. Create a new Group and Mask off the Group. You’ll now be able to work your texture into the Group, and add more adjustments as you go with the benefit of being constrained by the Group Mask the whole time.

Step 6

Download and open the Dog Nose Texture image from Stock Image #1. Select the nose texture area and Feather (Shift + F6) the edge. Bring the texture into the working area within your nose Group Mask.

See how were already Masked? Now we just need to resize and shape the nose to fit a little better.

Step 7

Use the Transform and Warp tools to get the nose into a more realistic looking shape. (Command + T). Within the working Transform area, Right Click to select Warp.

Step 8

Add the nostrils (actually gun mount bays on the actual Wellington) by adding a Mask to your Nose Texture Layer and Brush through.

Step 9

Darken the nostrils on the Merged Layer with the Burn tool.

Step 10

Create a highlight to make the dog nose look wetter. Create a New Layer (Shift + Command + N), a big round soft Brush and paint one drop of white paint onto it. This will give a nice smooth highlight.

Step 11

Then Transform (Command + T) the highlight Layer onto the top of the nose and reduce the opacity to add realism.

To look like a wet highlight.

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6. Composite Paw Texture

Step 1

Go back to your Channels and duplicate the already Duplicated Red Channel. We’re going to create a Mask for the paw area using the same technique we used for the nose. Notice that as the tones of the paws / wheels in the render are similar to the nose, (e.g dark, and the fur around them is redder and lighter), our Mask is already partly there.

Step 2

Select the Channel (Command + Click)

Step 3

Invert the selection (Shift + Command + I ). Select the Lasso Tool, Hold down Shift + Command and select the paw / wheels from the rest of the selection. With this key combination, the Lasso tool is set to Intersect the selection, so you’ll end up with only the areas you want.

Which when the Mask is previewed, will look something like this.

Step 4

Remove the Midtone areas around the wheels to obtain a really neat Mask of just black and just white. Preview your Mask, (Alt + Click on the Mask) and bring up your Levels, select the Dark Eyedropper and click on the areas unwanted. Note to remove unwanted areas that aren’t Midtones, you’ll need to Fill / Brush these out.

Here we now have a neat, Black and White Mask.

Step 5

Open the file Stock Image #2 and select some paw texture.

Step 6

Bring it into your Masked off working Group, as before, and Transform to fit.

Step 7

Resize and Duplicate for the rest of the paws. To Duplicate small working parts of a Layer onto the same Layer, Select the area of paw you’re working with and (Alt + Command + drag) and you’ll have Duplicated the same piece, within its own Layer.

Step 8

Refine the Mask by Brushing using the Smudge Tool once again. Do this on the Mask and it will push pixels back to reveal a little more paw detail.

Step 9

Now to Colour Correct the paw. A slightly healthier looking pinkish Hue would be good here so while within the Group Mask again, create a Hue / Saturation Adjustment Layer. Access your whole range of Adjustment Layers from within the bottom of the Layers Palette.

Step 10

Colourize the Adjustment Layer to something pinkish.

Step 11

Reduce the Opacity to taste, and within the paw Group Mask, Brush some tone in on a Curves Adjustment Layer. Here try to imagine where the light and dark areas would fall; so where the underside of the paw is meeting the shadow on the Background, we would also have a shadow area under the paw. Repeat the process for the rest of the paws.

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7. Composite Mouth Texture

Step 1

Locate the image - Stock Image #3 from SEPPics.

Step 2

The mouth needs a little straightening so select the mouth area and select Liquify, from the Filter Menu. (Shift + Command + X). Using the ‘Push’ tool, start attempting to smooth the mouth.

So you end up with something like this.

Step 3

Bring the mouth into our document, flip it the correct way, Mask it, and Brush with a soft Brush to remove the unwanted areas.

Step 4

Now to Colour Correct the mouth areas, this will help blend it into the fur. Here we’ll use Group Layer Modes. Create a new Group. Its automatic Group Layer Mode is set to ‘Pass Through’, change this to ‘Normal’. Add a Hue / Saturation Adjustment Layer, and set to Colourize, and move the Hue Slider to a colour nearing the fur colour.

What a Group Layer Mode set to Normal does, is it allows you to add Adjustment Layers within that Group to affect only the pixel data within the group itself. This means you can add multiple corrections without having to be concerned about Mask constrains.