As for the shaders, I used the misss_fast_skin_maya shader for my character and a Blinn with two Bump maps for the typewriter. Some people create separate maps for epidermal, subdermal and back scatter colors and I will try that next time, but for this character I used the same texture map for diffuse color, epidermal and subdermal scatter colors and used a plain red color for the backscatter (Fig.12).
For the bump I used the Normal map exported from ZBrush and added another procedural noise bump for skin pores. The shader on the typewriter is a blinn shader with a color texture map and two bump maps; one bump is to make the rusty areas look a bit deeper and one is a fractal noise to give the surface an uneven look.
For lighting I used the key, fill, back light method. My key light is a spotlight with a yellow tint, Quadratic Decay and Raytrace shadows. Using the Quadratic Decay option for spotlights gives very lifelike results, but you have to crank the intensity way up – mine had a value of 2500. For Raytrace shadow settings, after playing around with the sliders, I usually reach something that usually gives interesting results in almost everything I render and the values are:
• Light Radius: 10
• Shadow Rays: 30
• Ray Depth Limit: 3
For the fill lights I used two directional lights with blue tint in two different directions, but no shadows. One of them only has Emit Diffuse turned on and the other emits both Diffuse and Specular. These two lights provide a subtle fill light and have real low intensity values (0.1 and 0.2). There is also one bounce light in the scene that imitates the light that is bounced from the floor. Again the intensity is low (0.1) and it only affects diffuse and not specular and has a blue tint. There were no shadows here.
The back (rim) light is again a directional light with no shadows and intensity of 0.1 that emits both diffuse and specular. This light was also blue since the backdrop I was planning to put this character in had a light blue tint (Fig.13).
Rendering and Post
For the final render I did not do any render passes such as Reflection, Specular, Ambient Occlusion – I only used a Master Beauty pass. For the environment I took some pictures in a photography studio of a setup I had done for this image; a very simple setup consisting of a white cloth and a chair. Then I used the best parts of the photos I had taken to put together a really simple backdrop. In Fig.14 you can see a different render.
And here's the final image (Fig.15).
I hope you found this tutorial helpful. I want to thank 3DTotal for giving me the opportunity to share this image and the Making Of tutorial with you, and also for featuring this image in the August issue of 3DCreative magazine.