3D Creative December 2015

3DCREATIVE MAGAZINE | Designing a fantasy character
Painting hard surfaces: For hardsurface
texturing I use ‘Mask by cavity’
21
the same way, but in addition to that I use two
extra brushes. I use the TrimDynamic brush with
RGB turned on, which constrains the painting at
the edges only. With this we can get a torn edge
effect. I also use the Pen A brush, which helps to
create lines from thin to thick, and is good for
scratch effects.
Color maps: Later on I’ll use these maps
22 as masks for creating layered shaders.
Pictured, you can see the color maps for the body.
For the specular map, I combine the desaturated
color map with the displacement map, then paint
and adjust a few areas in Photoshop.
Area lights: For the lighting setup, I
23 use four area lights. All the area lights’
attenuation is on, and the sampling quality is
increased for a quality render. One environment
light uses an HDR image (the yellow box).
Further shader setup: I double-click
24 the mantraSurface shader that I created
for displacement and open up the inside network
section. I follow the same workflow here for the
UDIM that I followed for displacement, but this
time I connect the ‘add’ node to the surface
model’s ‘sss_clr’.
Further test renders: These are a few
25 settings I use for the mantraSurface
shader to create skin for the body. Pictured are
a skin shader test rendered with the color and
Texture painting for hard-surface accessories
The model’s map so far
A simple area light setup for the model
More mantraSurface shader setup
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