To texture the character I used techniques that varied depending on the type of task. To finalize the face texturing I baked Cavity, Displacement and Normal maps. This helped me a lot along the way as it gave me quick masks. In Fig.06 you can see the Specular, Rough Diffuse, Epidermal and Normal maps. I wanted to have sweat on the face and in some of the wrinkles, hence the light gray color on the Specular map. The Rough Diffuse and Epidermal maps were going to be used in the shading stage. The Subdermal and Backsurface maps were also created, but their effect is much more subtle.
Fig.07 demonstrates my masking technique. I baked a Displacement and Normal map for most of the clothing. I also created black and white masks in ZBrush through cavity masking and hand-painting. They would be useful in the next step to isolate and blend materials together.
Fig.08 demonstrates the technique used for the pants, which is more traditional. I polypainted them and baked a Diffuse, Normal, Cavity and Displacement map. Some parts of the clothing use a tiling velvet Diffuse map as a base so I created three shades of these (Fig.09).
To emphasize the fabric patterns and make them shine I went for a gold-looking material. I used a blend material with a velvet shader in one slot and a gold material in the other one. The black and white masks proved to be incredibly useful here as they gave me full control over where the velvet and the gold should go. I was also able to fine-tune each of them separately. The cloth used Roughness and a Fresnel falloff in the diffuse. For the skin I used Master Zap skin + shader. The settings are demonstrated in Fig.10. Blending through a shellac material is another option to help you get nice specular spots and reflections. Another interesting shader is the one used for the collar that I wanted semi-transparent. I got this result by using a simple tiling alpha.
This step was pretty straightforward. To enhance the ambiguity of the character and create contrast I wanted one side of the face to be lit by a warm light, as if there was a fire on one side. I then wanted to contrast that with a cooler color from the other side. The lighting setup can be seen in Fig.11. An HDR was also used to make the lighting a bit more uneven and create more reflections on the gold patterns.
Compositing was done through several passes in Photoshop. I used a base render to which I added a Rim light, Zdepth, Alpha mask, shadows and Ambient Occlusion.
I hope this Making Of was useful to illustrate the various techniques used to create this piece. Thanks for reading!