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The Beast Of ooal gown Crypt
The Beast Of ooal gown Crypt
Creature Sculpt
Kyle Potgieter
Kyle Potgieter
Email: 1015050@student.sae.edu.au
Skillset: 3D character Artist,3D Animator,Texture Artist.
Social: @KDR_Creative on insta
CREATIVE PROCESS
CREATIVE PROCESS
Character Creation
Character Concept and Story
Character Concept and Story
This elusive species has plagued the locals of this foreign planet for centuries arriving from an unknown location they appeared seemingly out of thin air or should I say out of the ground. These creature have developed underground and with the tendrils protruding out of its back it uses sharp almost gemstone like material stingers to dig the hard rock and incapacitate any unfortunate prey that it catches. It's large arms with the strength of 10 men, it uses them to clear debris and move through the ground, this creature is very territorial in nature but also seem to derive entertainment from killing as it has been rumored to kill without reason and leave chunks of what once was a full creature just scattered on the ground.
Elena Nedeleva
Elena Nedeleva
https://www.artstation.com/elenanedeleva
https://www.artstation.com/elenanedeleva
Character Concept
Character Concept
This amazing concept art was done by the talented Elena Nedeleva, a artist out of Russia. I got permission from her and then it was off to the races.
The reason this piece stood out to me was because it was simple yet complex and I thought there could be an interesting back story that I am able to add to the creature concept of the species, so I created my piece inspired by this art work.
Stage 1 sculpting
Stage 1 sculpting
Image 2- First Draft of body decided to go for a more dynamic pose so I scrapped this body and did the same technique to pose and get the base mesh finish
image 3- I liked this pose a lot more and used the hands and feet from Zbrush's IMM brush which gave me really nice results for an open hand and with the fist was sculpted.
image 4 and 5- This was the first draft of the skull, I thought it looked to cartoon so I changed it to the skull you see next to this picture but then thought the skull was too cartoonish and then I sculpted the second skull but then again didn't like it so I went for a more orcish skull with large Jaw and felt it fitted better, also added the tendrils and crystals and more detail
Image 6- Swapped out the skull added a rock which I later removed.
Image 7- Wanted to repose the model one more time and got the final pose I wanted.
Retopology and UV Mapping
Retopology and UV Mapping
Once the model is sculpted I'll took it into Maya to retopologise the model, this is done to reduce the number of vertices on the model allowing the computer to render out the and compute the model with no extra strain on the computer. A key focus in this section will be to focus on edge flow and keeping clean topology throughout the model allowing for easier UV mapping and rigging
Once the model is sculpted I'll took it into Maya to retopologise the model, this is done to reduce the number of vertices on the model allowing the computer to render out the and compute the model with no extra strain on the computer. A key focus in this section will be to focus on edge flow and keeping clean topology throughout the model allowing for easier UV mapping and rigging
UV Mapping
UV Mapping
Once the model is retopologised you go through the process of UV mapping where you designate seams and cuts on the model to flatten the model onto a 2D plane which will allow you to texture the model and have the colour and such on the model. When
Once the model is retopologised you go through the process of UV mapping where you designate seams and cuts on the model to flatten the model onto a 2D plane which will allow you to texture the model and have the colour and such on the model. When
Texturing
Texturing
I'll import the high-poly model and low-poly model into substance and then bake the high-poly onto the low-poly these maps will include ambient occlusion map, roughness, diffuse, normal map and height map. Using the baked textures, I'll use materials and masks within substance to create textures onto my sculpts. I had a bunch of different types before I settled on the final result
I'll import the high-poly model and low-poly model into substance and then bake the high-poly onto the low-poly these maps will include ambient occlusion map, roughness, diffuse, normal map and height map. Using the baked textures, I'll use materials and masks within substance to create textures onto my sculpts. I had a bunch of different types before I settled on the final result
Lighting Setup and Rendering- Once all of the previous processes are complete I'll take the finalised textured sculpt into Unreal Engine to render out the beauty shots for my sculpts, the lighting setup I will pull from the metahuman feature project which will have things such as subsurface scattering of textures and skin textures already pre-built with the lighting already put in place and ready so I am able to just render out the beauty shot of my sculpts
Lighting Setup and Rendering- Once all of the previous processes are complete I'll take the finalised textured sculpt into Unreal Engine to render out the beauty shots for my sculpts, the lighting setup I will pull from the metahuman feature project which will have things such as subsurface scattering of textures and skin textures already pre-built with the lighting already put in place and ready so I am able to just render out the beauty shot of my sculpts
Final Video
Final Video
PICture.mp4Report abuse