none
...Details & Textures What we do need are some vital details though. The ears are from an old Strata model and were just positioned where they belong. With the magnet tool I pushed a dent in the sides of the head, but of course you can also delete points, create a spline and actually connect the ears to the head. This looked good enough for my purposes. Holes were cut for the eyes. A spline was made from points of the upper edge of the eye socket, copied twice, moved into place and made into a nurbs loft. These three splines form an eyelid that can be easily animated. Just move the axis into the center of the eyeball (a ball primitive scaled to fit) and rotate the lower two splines to open and close the eyelid. Once you have your extreme keyframes, eyelid animation becomes a breeze. The basic texture is a brownish color, spiced up with the turbulence-shader in the color and bump channels. More materials for lips, venes, and eyebrows were layered on top. The material for the lips is made up from various textures (#14a-e) that were painted on a rendered front view template in Photoshop. The venes were UV-mapped on top of the head and the eyeballs got their pupil-material. It was time for boning. #13 - Eyelid is moved through rotation of the two lower splines #15 - Head with all materials #14a - Rendered template for lip textures #14b - color texture #14c - bump texture #14d - genlock texture #14e - Lip with final material Details & Textures What we do need are some vital details though. The ears are from an old Strata model and were just positioned where they belong. With the magnet tool I pushed a dent in the sides of the head, but of course you can also delete points, create a spline and actually connect the ears to the head. This looked good enough for my purposes. Holes were cut for the eyes. A spline was made from points of the upper edge of the eye socket, copied twice, moved into place and made into a nurbs loft. These three splines form an eyelid that can be easily animated. Just move the axis into the center of the eyeball (a ball primitive scaled to fit) and rotate the lower two splines to open and close the eyelid. Once you have your extreme keyframes, eyelid animation becomes a breeze. The basic texture is a brownish color, spiced up with the turbulence-shader in the color and bump channels. More materials for lips, venes, and eyebrows were layered on top. The material for the lips is made up from various textures (#14a-e) that were painted on a rendered front view template in Photoshop. The venes were UV-mapped on top of the head and the eyeballs got their pupil-material. It was time for boning. #13 - Eyelid is moved through rotation of the two lower splines #15 - Head with all materials #14a - Rendered template for lip textures #14b - color texture #14c - bump texture #14d - genlock texture #14e - Lip with final material ...