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In Modeler, the shirt had a minimal amount of polygons because I used the Layout for Node displacement for details. I also increased the Geometry tab in the Display subpatch level to 30 to get the desired results. 

At this stage, I also joined the head to the body and added wrinkles to the neck.


I used splines for the hair, eyelash modeling and the hand. The hair had spline type guides and those few guidelines were sufficient for Fiver FX to make abundant hair.

To avoid unnecessary work, the hand lacked details in some areas. For example, it was not necessary to create all of the fingers; I only needed the parts of the hand that were going to be visible in the scene. So with a previously saved scene type "Layout" and the corresponding camera position I was able to identify which sections needed work and which didn't.

The eyelashes were created with subpatch. The eyelashes and some other final details can be seen in Fig.05.

Fig. 05

The eye has several layers with different volumes to add depth (Fig.06). The iris, translucency and reflection are responsible for capturing the brightness of the light.

Fig. 06

As for the brightness of the main light, I used a plane with polygons and properties of a UV map with Luminosity set to 500%. This site also served as HDRI for its high light irradiation.

As you can see on the bottom of the chair in Fig.07, I created a set of polygons in low-quality function to act as shadow generators.

Fig. 07

Here's the final model with a preview of the textures (Fig.08). Please note that all the textures are 360 degrees. The surface baking camera option gives us this possibility.

Fig. 08

Layout Composition

Here is the image displayed on its own (Fig.09). I'm not going to say much more about the setup because it often happens that viewing a screen shot is more explicit than words.

Fig. 09

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