Hello there!
I have recently begun working on a crocodile for an upcoming VR experience.
It is in the early stages, but I still want to get as much critique as I can. Please tell me what you think!
I look forward to sharing more of my progress with you. This is my first time posting on Polycount, so I'm excited to having other artists help me on my journey.
Replies
Here is another WIP. I did a texture test to see if the anatomy was holding up at all. This model has been used in a prototype, but I am going to redo a lot of it.
Critiques are welcome!
ANATOMY SPEEDSCULPT
Due to my streaming, I have accidentally created a huge library of speed sculpts. I'll be posting them here as I render them (I just got Keyshot and have no idea what I am doing, haha).
ANATOMY SPEEDSCULPT
I am currently in the process of refining this piece I made during the Zbrush 2020 Beta Testing:
The first thing I'm adding are the dragon's babies (this was part of the original scope, but I had to delay it due to the original deadline). The babies will improve the storytelling factor of the piece!
Baby WIP:
Parent T-Pose:
Good Feedback I got:
These are things I would like to ideally work on (I don't know how many of them I'll get to before calling this piece done)
- More color variation + better patterns
- Make composition more clear
- Vegetation
- Scatter small rocks around
- Increase rock texture resolution
- Improve the way roughness looks on the belly scales
- Add background (or at least make backdrop more interesting)
- Overall more color green
- Make their paws more grounded
Design fundamentals are not something I excel at, but in the past couples months I've come to realize how important they are in all facets of an art piece. Including composition. I hope to offer some decent feedback while I learn myself.
Here's a little paintover I did to illustrate the action lines. Right now they feel a little haywire, I believe you need stronger leading lines and a focus point for the eyes to rest. I'm sure you've seen Maria Panfilova's summit presentation, she provides some wonderful insight into her thought process for building a composition.
I created this piece in record time using the Creature Pack, a collection of really cool IMM brushes from Pablo Munoz Gomez (ZbrushGuides). All the profits from this pack go to the CFA (Country Fire Authority) to battle the Australian bush fires. I had the honor to collab with Pablo and many other amazing artists to create this pack!
Creature Pack:
https://www.zbrushguides.com/creature-pack-to-support-the-australian-cfa/
https://www.youtube.com/watch?v=EyhpUtzcigU
This 3-hour stream was focused on discussing Observational skills - why they matter, techniques, how to reach higher accuracy in your sculptures. We broke down the human body into simple shapes, paid attention to negative space and proportion, etc.
https://www.twitch.tv/videos/579086657
To relax from other more complex pieces, I am making a character from a story I wrote a long time ago.
The idea is to create a diorama-style scene of the death of the character, a mermaid, floating in a shallow pond, clutching her chest which is pierced by an arrow. The goal is to create a delicate piece, that skirts the line between beauty and discomfort.
To speed up the process, I am using a scanned base mesh for the first time! It has served me pretty well. Where I bought it: https://www.3dscanstore.com/
Sculpted and rendered with Zbrush.
Artstation Post
I think the skin and overall shapes are pretty much done, now I just have to wrap up the eyes and pose, then render!
I can't decide if I want to do a simple BPR render, or throw it in substance painter to add roughness variations and AO on the skin.
1.5 hours of sculpting without reference, just because I wanted to see if I could pull it off (reference is good, though).