Finalising the model
Once I painted the texture I realised that for the best image I should just focus on his head, so I hid the parts I didn't want in ZBrush and chose Del Hidden to get rid of them. With just the head left I exported the lowest subdivision and took it into RoadKill to layout the UVs quickly and easily. To finish up, I added an extra subdivision to the head and added a few more details and bumps. I then exported a mid-res .obj for the render and generated a Normal Map in ZMapper.
Once the head was in Max I assigned Mental Ray as my renderer and added a Fast SSS Skin material to the head as I knew that's what I wanted to use. For the lighting I used a very simple 3 omni setup (Fig.07). The first one was just above the camera to act as the main light and shadow source. I turned on Mental Ray Shadow Maps for this light, left the intensity at 1.0 and set the colour to a slightly orange/peachy tone. The fill light was behind and to the left of the model; this one had shadows off, intensity of 0.7 and a slight blue tone. The final light was behind and to the right of the model, this had an intensity of 1.6 to simulate a really bright light and all the other settings were left as Omni defaults.
For the shading of the skin I only needed 4 textures (Fig.08). I took the skin I painted in ZBrush into Photoshop and overlaid the green channel of the normal map to give the diffuse texture a bit more depth. This gave me my final diffuse texture. Then, using adjustment layers, I desaturated the diffuse to make the Epidermal map, then over-saturated and changed to a yellowy hue for the Subdermal Map (fatty tissue), and finally changed it to a red hue and tweaked the levels to get the Backscatter Map.
Once I had these the rest of the shader was simple to setup (Fig.09). In fact, most of the options were left on the default settings. I didn't use any specular maps for this render as I was happy with the shiny look I was getting without. Don't fix it if it isn't broke!
With the skin shading complete I went onto creating the shaders for the horn. I decided to create these procedurally to save a bit of time. To get it to look right I needed 3 different materials. The first one was the bone material, for which I used a picture of concrete from Total Textures: Volume 2 (www.3dtotal.com/textures
) as a diffuse and bump map for the horn itself. For the glowing ‘hot stuff' inside, I created another material out of a Mental Ray shader node. I added a Glow (lume) shader to the surface node and controlled the glow with noise nodes (Fig.10).
The final material I needed to make was a Blend material. I dragged my simple bone shader to the Material 1 slot, my glow material to Material 2 slot, and dropped a dirt mask onto the Mask slot. And hey presto, I had a fiery horn shader!
For the final image I rendered out my man with the skin shader, and then with the fiery horn shader. I also rendered out an ambient occlusion pass. This is what the raw render looked like (Fig.11).
In Photoshop I first composited the burning horn with the raw render by simple making a masking layer and painting the horn out, to allow the hot horn underneath to show through. I then set my ambient occlusion pass to multiply. I also added a simple background using noise filters and the motion blur tool. The rest of the tweaks were done with adjustment layers, mainly Colour Balance, Curves, Levels and Photo Filters, each with layer masks so I could control where they affected. Lastly, I painted on some fine hair on the top of the ear and on the face using a small brush in Photoshop, and then cropped it for a better composition (Final Image).