Now it's time to colour! As you can see in Fig19, I used the normal map, which was generated in Mudbox, as a base for all maps; I desaturated the normal map and generated a fake occlusion (which works for me) and started hand painting the colours. By the way, I only use a mouse for modelling and painting - I never use a tablet. I love my mouse and I am very comfortable working with it. Some people call me the ‘Evil Mouse Guy'. So, I started painting organic flesh colours whilst checking a lot of reference material from Carlos Huante to see how he used interesting colours for his creatures. I also kept all of my layers for different colours so that I could tweak them. Details like spots and strokes were also added on a different layer so that I could tweak or blur them later. To test the colour in the 3D renderer, I plugged it into the skin shader (Fig19).
Fig20 shows the screenshot of the Brazil skin shader preview in 3DS Max. I then had to set up the lights, as can be seen in Fig 20. I was then ready to hit Render.
Before, the screenshot from 3DS Max showed my lighting setup from the top and perspective view. I was using four spotlights and one Brazil light. I then hit Render from the camera view selection (Fig21).
Now, Fig22 is what I call a test render! It all started coming to life at this stage. I then started to think about adding extra visual elements to the creature like slime, hair and a ground - so I got stuck into creating them (Fig22).
As you can see, all of the extra visual elements were added like slime and hair, and also shading for the teeth and spikes was also done. They used the same Brazil shader with simple diffuse, and the material on the slime was done using a Brazil standard shader with transparency and a high specular value. I modelled the hair because it was very minor, and I was then ready for the final render (Fig23).
Fig. 23 - Final Image