Unwrapping and Texturing
I unwrapped the model and imported it into ZBrush, where I made almost all the texturing and also tweaked the geometry a bit (Fig.04).
I made diffuse, reflect, and normal bump maps for the character and also an opacity map for the carrot. The bump map was also used as a specular map – with just a few tweaks right in 3ds Max. I added some textures to the diffuse map in Photoshop, using different blending modes to make it look more interesting. Then I decided to make some clothes for the character, in addition to the hat, boots and a tie he already had, to close any possible joints of texture on the body-hands parts and also add some extra visual interest. I searched the internet for appropriate references and found a picture of a jacket I thought would fit him perfectly.
The lighting was pretty simple (Fig.05). I used a V-Ray plane light for the main diffuse source (1), standard 3ds Max target spot with diffuse turned off for some extra specular (2) and also two target spots (3,4) to separate the character from the background and add extra reflections where I wanted. I also used an HDRI map for the reflection slot in the environment rollout.
Posing, rendering and applying post-effects
I was pretty happy with the result at this point, and was already thinking about making some final renders, but didn't like the fact that the work suffered from an obvious lack of dynamics and the character didn't look as insane as I sure wanted him to (Fig.06). I thought it was due to the dull T-pose he was in, which didn't match his personality at all, and I sure wanted this character to speak for itself. I didn't want to do any rigging so I switched back to ZBrush and posed the fellow according to his temper with the help of the brilliant ZBrush tool "transpose” (Fig.07). The tie, the jacket and the boots were then "posed” in Max according to the body with the help of a FFD modifier.