Of course there were the locations (the skin on her back etc) that I changed later during the texturing process, but at this stage, the main sculpting was finished and so I decided to try to render a model in mental ray (Fig.10).
I like the process of texturing "live" surfaces. To render the skin in mental ray, I had to draw three different layers of skin, not to mention the relief maps and reflections. I began to paint the upper layer. I will not go into the technical details of the process; it is enough for the lessons here only to discuss some of the features.
Not all the parts of the body are the same colour. The legs are always blue (green) depending on the light. The closer to the fingers, the redder the hand becomes, and generally, the thinner the skin, the redder it will be. Fingers, knees, elbows etc. In places where there would be fat, the skin will always be yellow (for example, on the abdomen or buttocks).
Women's breasts are almost entirely composed of a special fat, saturated vessels and the skin is thinner, so it's the brightest part of the body. At this point, the model should display all these details making it a work of elusive charm, with a liveliness that is inherent in beings of flesh and blood. Look at the works of Boris Valero for examples of nuance (Fig.11 & Fig.12).
Here are the leather upper spheres models. I tried to render them with mental ray. This is the result (Fig.13).
As you can see, I have sculpted the initial shape the future fabric. At this stage I still think that it will be fully fabric and so draw a composite sketch once more (Fig.14).