(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. - (Ana) We're
going to introduce you to some techniques used
here at Pixar to do this. - (Beth) Such as voronoi diagrams. - (Ana) And how we use randomness to make it look more organic. - (Beth) 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. - (Beth) It all begins on paper because it's much faster
to iterate that way. - (Ana) Shading
packets also contain reference photographs like this cactus, which is a real-life approximation of the look and feel we're going for. - (Beth) This is a wonderful inspiration for the
scales of our dinosaur, but it's just a starting point. - (Ana) Let's
examine these drawings a little more closely and see what kind of things Tia has identified. - (Beth) 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. - (Ana) 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. - (Beth) Aside from the size, position, and shape of the scales we also have to start
thinking about color. - (Ana) Notice she wants each scale to vary in color and a reminder to make the skin beneath the
scales a different color. - (Beth) 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. - (Ana) 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.