Human Progress

Those were my thoughts as well. Haven’t done a speed test, but I bet they take the exact same time. :wink:

1 Like

Does this person like eating rocks?

Not sure it will really matter. Would be a really weird shot if we are ever gonna see it like this :wink:

There must be an addon for this. Really sound like something could check the textures every now and then. Its basically simply a timer which would update the texturens every nth second.

I did fiunbd a paid one, he charges $16 for it and doesnt seem to really work i f check comments.

I also foudn something different. Its not for Krita though, but perhaps can be altered or added.

How do you get around the Displacement Scale being .001??? I had to CRANK the contrast for it to be even barely noticeable, or change the Scale to .01!

I think the Discrete version looks more realistic.

I’m sure you have tried, but this shouldn’t need to be the case with random walk SSS? I noticed in those nodes that you had used Christensen-Burley.

In my limited experience, random walk has acted much more as expected for thin geometry

What’s with your image names? Like ‘Human 23b’ or ‘Human 16i’? What does that mean?

It’s an idea, although by the time I get back around to texturing again the texture paint part of Blender will have transformed into Krita the rate things are going. :wink: In the mean time I can live with the inconvenience.

Not sure what you mean, but you might want to check if your model is in the wrong scale again.

I didn’t see much of a difference with Random Walk in terms of transparency, but it does enhance the bumps a bit with a sort of “greyness” that’s not apparent on actual teeth. Turning up the SSS scale makes a sort of gradient, I can’t tell if it’s actually making it more transparent or not though. Needs further investigation.

It’s my alphanumeric versioning system (1a, 1b, 1c…1z, 2a 2b etc.). Makes for smaller file names and avoids mix ups in image sequence numbering. The image name corresponds with the version of the human it was rendered from so I can find the file if I need to revisit.

1 Like

Hi, Your work is very inspiring. Thought I ask away…
Can you give any tips on painting skin? specially the face? I’m struggling so hard with it.
I’m not asking for a hand holding but I need to know what you should look for in doing it. I always feel lost.

I know this Is probably a long shot but could someone please explain the skin material screen shot Chris Jones has posted? I would be happy to pay for it actually.

I’m new to blender, however used some basic software before (octane with cinema and keyshot).

Or maybe there’s some tutorial you guys could redirect me to?

The work is just astonishing and inspiring, sets the right bar

Ok. GAAAAAAAAAAAASP
The Attribute ‘Caruncle’ is to seperate the caruncle nodes with the main head nodes.
The MixRGB in the Displacement is to mix the Bump Map and the Displacement Map.
The Attribute ‘Eyeball Smoo…’ means ‘Eyeball Smooth’ and takes the Bump Map away from the bits that don’t need it.
The Diffuse BSDF is replaced with SSS BSDF because it looks more realistic.
The Roughness in the Glossy BSDF is inverted because for some reason inverting the Specular Map to make the Rougness Map is good.
There are 2 SSS BSDFs because one is for the caruncle.
The Fresnel is so that the Glossy BSDF is only on the outside.
Phew, I hope that explained everything that was confusing!
Also, @ChrisJones, correct me if I got any of that wrong.

1 Like

thank you very much!! :white_flower:

@ChrisJones

Could you please describe how you made that fluff hair on the face (cheeks, forehead, ears), that’s hardly visible ?

thank you for sharing, would gladly pay for your tutes, amazing job!

He just used tiny hair particles all over the face, and used this material setup:

Hope this helps!

2 Likes

Let’s see… you’ll need to make some brushes: speckly ones for spraying various shades of brown, red and grey; some for stamping pores and wrinkles; and one with a sharp falloff for drawing more prominent wrinkles. Use photos/scans (and yourself) with extremely ambient lighting for colour reference, and you should be able to find some bump maps made from 3D skin scans to use as bump reference.

The colour should be uneven - there’s usually more red in the nose and lips, grey where there’s hair (e.g. stubble), blue/purple under the eyes etc. Make the bumps as high res as you can, and squeeze as much sharpness as possible out of every pixel.

EDIT: I also scribble over the whole thing in red and blue using a fine brush, which creates the impression of veins.

Sounds about right. :+1:

Thanks!

4 Likes

Cool, just needed to check.

That took 20 minutes to reply! I guess wording is important to you!
EDIT: Oh no not again

It actually took quite a bit longer than that, including remembering the process and double checking if I had my facts right. Imagine how long it would take me to do a whole tutorial!

2 Likes

you know, with that many polys in the face, unless you make a really big texture, there won’t be very many pixels inside each ’ UV hole ’ or ’ space ', maybe you could make a more low poly face, bake the more detailed into a normal map and, so get more realistic skin, right now, even if you go to 4096x4096, it looks like there no more than maybe 20 - 30 pixels in each face UV ’ area ’ . . how-ever I make stuff for games and, performance is a real issue there, if it’s more for Blender High-quality renders, you could go 8K or, even 16K, I think - - I must say, that’s an almost perfect realistic human being, down to the last details, I’m impressed - -