For ages I've been trying to find a better solution for getting V4 to look more sweaty and wet, but all the wet skins I've. If you are using Poser 11, there is a nice skin shader setup for Superfly by Bopperthjis. Download here.

Wet&Wounded information I got at renderosity. * bloody man（James） and, wetty woman（ + Filosophy Hair ） This can use to DAZ 3 series (V3, A3, M3 etc,) and 4 series( V3, A3, M3 etc.), and Poser6 default figures. *wetty woman This is procedual material set using python. This material is blood, mud, water. * muddy woman content • poses • Bruised • Dirt • DrippingBlood • Plain • Wet • WetBlood • Wounded • randomize pattern • higher bump • lower bump • bigger wet drop • lower wet drop • lights • AMBIENT lights　x4 • BackLit　x4 • CONTRAST light　x4 • MAPPED light　x4 Here is poses.

When apply poses, Figure's material changes to below. *complex material. It take much time to render image using this complex material. Here is lights. These are 4 category.

I think more lower value of AO is good. But, I can rendered very realstic images using this light set. *real wet skin I am not sure James 's skin is strange after apllying shader wet. It is too specular. Shader scarred is here. Probably, I think there is no problem.

Summary It looks this product is bundle of and and muddy shader. This tool add material blood, wet, mud to figure's skin. Related: next: * > > Index • • • •.

Character Artist shared his approach to skin material creation and setup for his Mass Effect Pathfinder bust. Greetings, everyone! This article will show you how I approach creating faces for real-time characters and present them using.

I hope this article helps those who are looking to learn how to create skin materials inside Toolbag. Sculpt The focus of the article is aimed towards texturing and setting up shaders, but there are a few things I want to cover beforehand which I think help a lot in the final result. I start sculpting using a custom made base mesh which has correct topology and UV’s that can be used for the low poly mesh. This cuts down a lot of time. The sculpting process is straightforward; find good reference, have a strong foundation in anatomy and go crazy until it looks good.

Lately, I’ve been using for my pore details. Sculpting pores by hand (dragging alpha) is easier and it doesn’t make much of a difference for games/ real-time character creation unless you zoom in real close. The choice is yours.

Tip: Adding subtle noise in skin helps to breakup the “perfect” feeling and makes it look more organic. Textures The texture maps I used were: Normal, Detail Normal, Detail Weight, Roughness (inverted Gloss), Albedo, Translucency, AO, Cavity, Noise, Specular (Optional) and Scatter (Optional).

Albedo: Albedo is color information. For this project, I projected albedo data from texturing.xyz. Below is my process for how I projected my albedo map. Another option to achieve a similar result would be hand painting your textures (Magdalena Dadela’s demonstrates this really well). While hand painting is fun, it’s more time consuming compared to working with scan data. One useful tip to help enhance the feeling of subsurface scattering in your albedo map is to paint veins and redness around high blood flow areas like the nose, ears and cheeks.

Make sure to keep the color shifts subtle. Multiplying your cavity map down as a red color helps fake the subsurface effect and helps align the pores in both the normal and albedo maps. Cavity: Cavity maps can be used in multiple maps, such as Albedo, Specular and Roughness. It’s simply a black and white map where the pores are completely black. Marmoset have added Cavity maps to which works really well.

The method I personally like to use is extracting cavity detail from ZBrush since it’s faster than baking. However, for this you’ll need to have the same UV’s for both low and high poly meshes. In ZBrush, fill your mesh with a pure white color then go to Tools > Masking > Mask by Cavity. The default values should work just fine. If not, play with the curve profile to get better results.

Lower the blur values a bit, since ZBrush’s default values are too intense. You can change this under Preference > Transpose > Mask blur strength. Invert the mask and fill it with black, create a texture and export. Normal: Bake down your high poly mesh onto the low poly mesh.

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