This is a kind of interpretation of the cold lady from Hans Christian Andersen's fairy tale, which I never read as a child, and which I'm sure you all know. Let me tell you a little about the creation process: 1) Daz3D. First of all, I needed the image of a strict woman with angular features. Taking as a basis the basic character from the daz program, I began to adjust it to myself. Honestly, I think the face is a weak part of the job, even though I had to redo it about three times. It was not possible to immediately convey the character of the character. Then posing, which was necessary for further work in Marvelous designer. The pose, by the way, I also changed about three times. And I had to run each of them from program to program, as the dress sewn according to it changed again and again. 2) Marvelous designer. I must say that I changed the image of the dress twice. There was a super task to sheathe a thin light mesh-stretch fur, which is many times heavier. At the same time, everything had to look realistic. And I had to redo and smooth out the natural folds manually. 3) ZBrush. And although it would be easier and faster for me to make fur in Ornatrix, I decided to experiment with Fibermash. A long struggle with the fur for realism began. Therefore, after many failed attempts, I decided to make fur with a double-sided lining with a parting. You will see it if you zoom in on the picture. A little thing that can be invisible from afar, in fact, greatly affects the final image. In zbrush, as in Ornatrix, it can be combed and laid with special brushes, but in my opinion they are not very comfortable. For the finished dies, I created a fur texture with an alpha channel, with further transfer to max. But then I realized that it was more convenient to apply the coronahair material to the fur than to bake it yourself, so I took only the mesh (dies) from Zbrush. In it, I also made a relief of the crown, which I modeled in 3d max. I decided to make the stones that created the edging of the crown in max, because it was faster and easier in this case. 4) Substance Painter. Next came the texturing stage. And there were several difficult tasks that I had not encountered before. 1. Make snowflakes on a transparent stretch mesh. Surprisingly, it turned out to be a good result right away. Make a dress with the effect of sequins and glow. The Emissive card helped here, but, unfortunately, its glow blurred the overall image of the dress, so I chose a not quite standard option, to create a small scattering of sequins, which are inherently made of metal material, and then load them partially as self-illumination. 5) 3ds max. I loaded all the stages of work over and over again into a pre-configured lightweight scene in max. Something I didn't like, something didn't work out right away and I had to go back to other programs. When I was satisfied with everything in the character, I started creating an environment. There were certain problems with this, too. For example, for a long time I could not find a reference on the Internet: what does snow look like if it was transported with a light cloth. I redrawn the Displacement map over and over again, picking up different brushes in Photoshop and ready-made watercolor strokes. But nothing fit, and then I decided to go outside and do this experiment on my own to see the stains on the snow. I generated snow with the help of the SnowFlow mod, and I collected the environment from Quixel assets that I had modified and modified. It was important to delimit the space here. The walls of the cave are snow–covered ice rocks with stuck snow. Making them entirely out of snow would be unrealistic. 6) Additional chips. The basic textures from Daz's character, alas, looked like puppets. That's why I decided to make the skin through the coronaSkin material with the ability to configure the Volumetrics and SSS parameter. But for this material, we had to additionally create Roughness maps, which were not in the basic set of textures. In general, this Volumetrics and SSS parameter was used almost everywhere. Snow, icicles, leather, crystals, a hat, which loaded the processor well during rendering. I did the makeup of the character additionally in Photoshop on top of the basic texture of the face.