With this technique I had more control than using the original shader. I could quickly adjust the percentages of each skin layer, and change colors, contrast and levels for each layer.
I made a mask for the reflection pass. I only wanted that reflection on the lips and this mask was okay because I was going to create still images. If it were for animation, I would have painted the weight of the textures before rendering the passes.
The eyebrows and eyelashes are polygon cones with different sizes. All were manually placed; it was simple but tedious work here (Fig.18).
The eyes are three meshes: exterior, iris and a back cover (pupil) (Fig.19).
The “exterior” mesh uses a blinn shader with transparency in the center that allows us to see the other parts. The transparency map is a Maya circular ramp.
Here is a render without textures, only with the transparency (Fig.20).
I took photos of my own eyes to create the textures (Fig.21).
Here are the shader values that I used. As a special thing, I also used a bit of translucence (Fig.22).
For the reflections of the eyes, I mapped a HDR texture on a sphere and deleted the faces that didn’t have the light source. I placed it where the light was to simulate that the light comes from a window (Fig.23 – 24).