You can also easily create your own VDM to fit your needs. This also means that you need to have enough resolution to avoid blurriness and lack of details, so I’d recommend using subdivision levels and working on the highest subdivision.īy default, you can find some VDM inside ZBrush if you have the 4R8 version or higher, under the brush palette, called Chisel3D and ChiselCreature. These brushes will allow you to add detail and pull topology from your existing topology, the same way regular alphas would work, except it, will keep all the overhangs and the 3D details. The scales were directly placed on the body using a cool feature in ZBrush called VDM (short for Vector Displacement Maps). I would then duplicate and manually place them along the curves of the body, before subdividing and detailing them. I started by masking an area on the body and extracting it, adding a shell, and using ZRemesher to give it a nice and clean topology. The bigger scales that cover the belly and the back were created as separate subtools. Because of that, most of the stuff was over-exaggerated, mostly because it would print better, but also give it a more badass and imposing look. The other important thing was to have a cool silhouette, especially for 3D printing, where the bigger and medium details are often more important than the smaller ones, which can be washed away by the printing process. That part was a bit tricky, as I wasn’t too familiar with that kind of anatomy but my friends and colleagues from Lord of the Print were super helpful and gave a lot of great feedback. Also, depending on the type of creature you’re doing (dragon, wyvern, sea serpent, etc.) you can look up similar existing animals from which you could take anatomy references. For that, I used a mix of human and lion anatomy, while incorporating some other elements from giraffes and dinosaurs. The first important thing was to work on the anatomy and make it look believable. At this stage, I was still working in symmetry to save time, and I added most of the important landmarks and changes that we talked about during feedback sessions. Since I had a general idea of what the final result would look like and avoid having too many deformations once I will start posing the mesh, I used the base body that I made earlier and posed it so the silhouette would roughly match the final one. When all was approved, it was time to start working on the high poly sculpt. Also, the horns on the side of his head would get doubled and become bigger. The bony structure on the head would have more layers as well as becoming a crest that would run down his back, following the curves of his body. The shapes of the wings would later change, becoming bigger and more wing-like. This was used with a combination of other brushes inside ZBrush like the Move, ClayBuildup, Standard, and Dam Standard brushes, all native to ZBrush and probably used by most artists.Īfter that, we had some back and forth feedback sessions with the guys at Lord of the Print, until they were satisfied with the look and the feel of the pose.
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