We'll now see how to make the shaders for the Gidiosaurus's eyes; they are composed of two objects, the Corneas and the Eyes objects, so let's start with the first one.
Enable the 6th and the 12th scene layers and select the Corneas object; in the Outliner, disable the Eyes object's visibility in the viewport to hide it, put the mouse pointer inside the Camera view, zoom to one of the eyeballs and then start the Rendered preview.
Let's start to create the Corneas
material:
Cornea_bump
.eyeball_col.jpg
, rename the ID datablock as eyeball_col
and set the UVMap.001 as the coordinates layer; in the Influence subpanel set the diffuse Color channel to 0.200 and the specular Color channel to 0.200 as well, set the Blend Type to Color.eyeball_bump.jpg
, rename the ID datablock as Eyeball_bump
, set UVMap.001 as the coordinates layer and disable the Color channel to enable the Normal one at 0.007; set the Bump Method to Best Quality:In the preceding screenshot, the effect of the Vertex Color layer is visible: the two gray dots on the eyeballs are actually the crystalline lens areas filled, only at the moment, with the gray color of the empty Color2 input socket of the MixRGB node.
Cornea
and, in the Texture window, select the second slot texture, eyeball_bump
, to click on the X icon button and delete it.Now, go to the Outliner and enable the Eyes object visibility in the viewport to show it:
Eyeballs
material slot; put the mouse pointer in the Node Editor window and press Ctrl + V to paste the material node we copied before.Eyes
. Add an Output node (Shift + A | Output | Output) and connect the Color output of the Eyes material node to the Color input socket of the Output node.eyeball_col
texture and set the diffuse Color to 0.855, disable the specular Color channel and set the Blend Type to Linear Light; select the eyeball_bump
texture and set the Normal channel slider to 0.005.Now let's see the iris:
Eyes
material node and the connected Output node and press Ctrl + C to copy them; go to the Material window and select the Irises
material slot, then put the mouse pointer in the Node Editor window and press Ctrl + V to paste them.Iris
; change the Diffuse subpanel color to R 0.429, G 0.153, B 0.000, then go to the Shading subpanel and set the Emit value to 0.07. Go to the Subsurface Scattering subpanel and change the scattering color to R 0.220, G 0.033, B 0.032.iris_col.jpg
, rename the ID datablock iris_col
, and set UVMap.001 as the UV coordinates layer. In the second slot, load the image iris_bump.jpg
, rename as iris_bump
, set UVMap.001 as the UV coordinates layer and in the Influence subpanel disable the Color channel and enable the specular Intensity and Hardness channels with value 1.000, then enable also the Normal channel with value 1.000. Set the Bump Method to Best Quality.iris_bump.jpg
image; rename the ID datablock as iris_ST
. In the Image Sampling subpanel, under Alpha, disable the Use item and enable the Calculate item. Set the UVMap.001 coordinates layer and in the Influence subpanel disable the Color channel and enable only the Stencil item at the bottom:iris_col.jpg
image, rename the ID datablock as iris_emit
. Set the UVMap.001 coordinates layer and in the Influence subpanel disable the Color channel and enable the Emit channel at value 1.000.Regarding the Pupils
material, it's a simple basic material with pure black as Diffuse color and the Intensity slider under the Specular subpanel set to 0.000 to be totally matte.
For the Corneas object: we created two copies of the same transparent material, but then we removed the bump from one of them, because usually a cornea has bumps due to the veins on the eyeball but not on the crystalline lens, that is smooth; the two materials are mixed, exactly as in the Cycles version, through the output of the Col Vertex Color layer.
Regarding the Irises
material: the iris_ST
texture, set as a stencil map, works as a mask for the following texture to appear through its black areas.
Although it could have been solved by simply leaving a blank material slot, I assigned a black matte material to the pupils; I preferred to assign a material anyway, to avoid possible issues in the following stages such as, for example, in the rendering of the character against an alpha backdrop, of the separated passes and in the compositing.
Note that the Corneas
is the only material where I enabled the ray-tracing mirror, which in the character's skin and in the armor are instead faked, to obtain faster rendering times (the eyes are really a small surface to be rendered).
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