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(footsteps) - We're on our way to the art department, but we can't show you much of it because everything there is super secret. - In the previous video, we saw how patterns were created to texture the dinosaur, Arlo, for the movie The Good Dinosaur. In this lesson, it will be your turn to make some convincing dinosaur skin using patterns, colors, and randomness. - (Tall Woman) We're going to introduce you to some techniques used here at Pixar to do this. - (Blonde Woman) Such as voronoi diagrams. - (Tall Woman) And how we use randomness to make it look more organic. - (Blonde Woman) By the end of this lesson you'll be ready to make your own dino skin. - And no matter what we're building, it all starts with a shading packet. - And the shading packet comes from one of the artists in the art department such as Tia. (knocking) - Hi! - Hey. - How are you guys? - Great. - Good, I have a present for you. The dino leg shader packet. There's a few pieces here for you. Some reference, some color specs, and some real reference. Those are for the claws. I don't have all the answers. I'm leaving it up to you guys to do the rest. I've got to go run and teach a class, so can I leave this with you? And you're welcome to use my office. Have a blast. - Great. - Thank you. - Thank you! Bye. - The shading packet is a collection of drawings and images that will guide us through the process of creating our dino skin. - (Blonde Woman) It all begins on paper because it's much faster to iterate that way. - (Tall Woman) Shading packets also contain reference photographs like this cactus, which is a real-life approximation of the look and feel we're going for. - (Blonde Woman) This is a wonderful inspiration for the scales of our dinosaur, but it's just a starting point. - (Tall Woman) Let's examine these drawings a little more closely and see what kind of things Tia has identified. - (Blonde Woman) First notice there are a number of scales of varying sizes sticking out, or extruding from the skin. We'll need to figure out how to build these. - (Tall Woman) Also notice the scales vary in size, some bigger and some smaller. The bigger scales correspond to rigid areas, such as the middle of the leg. Smaller scales are found in areas near the claws, which is an area that is much more flexible. - (Blonde Woman) Aside from the size, position, and shape of the scales we also have to start thinking about color. - (Tall Woman) Notice she wants each scale to vary in color and a reminder to make the skin beneath the scales a different color. - (Blonde Woman) The final touch is to pay attention to different kinds of random variations we'll need. For example, some scales extrude more than the others. Plus, the position and size of the scale should vary as well. So there's lots of variation going on here. - (Tall Woman) Now it's your turn to examine the shading packet. - Once you're comfortable studying shading packets, we'll get to work creating the patterns in the computer.