Everything seems to be lining up. It's time to move onto the lower sides of the neck. A little bit of inspection shows some specularity around the nose. I don't think I will remove it. A lot of my maps aren't completely neutral. I sometimes leave in specular highlights if they're not too bad, or create darker eye sockets for villain characters. I am also leaving in a bit of shadow to show off Monika's sexy jaw line.

Q Step 33: Chin patch u- o^h ha* three anchor points: each end of the jaw bone; and th* The f T m v first attempt is a b.g chin patch. The photography underne !1P 0< 'r^nT oo great Peter shot her with her head tilted back w ZX^s^l! she tilted her head back. I would have prefer!

to have the camera shot low angle with Mon. a in neutral position, m ,hfe „rt ¡t! fixable This proves the importance of starter maps-they have a the annoying parts for the neck worked out already. If you come to a pho h^t Zu are missing find a similar face and skin from another person with If vou can t do it in one patch try s^W^^pieces. th

o step 35: Neck touch-ups

Ordinarily I would probably frame the whole neck and jaw for one giant single projection. Monika has such a beautiful neck I didn't want to take chances with resolution. Splitting the jaw and neck into two projections "" pay off later in other maps. Every inch of skin is important.

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