Creating reptilian monsters

Tiago Oliveira takes us through his process in the creation of his prowling Beast image.

Introduction

This character was inspired by Jaemin Kin's art. I created this work during a workshop a while ago with Rafael Grassetti, and will show you all the steps that I went through during this project.

Modeling

First of all, I researched some animal references, like felines, lizards etc. After that, I started modeling the form from a sphere in ZBrush. I divided the modeling into steps and the first step was to work on the proportions and primary shapes like the muscles, face, spine, nails and teeth. This first step is very important because this is where your model will get his defining shape.

The first stage involved creating the basic shapes

The first stage involved creating the basic shapes

Retopologizing

I then used ZRemesher for retopology, using guidelines to get the right flow in his head and body.

ZRemesher helped create a better flow in the body and head

ZRemesher helped create a better flow in the body and head

Adding detail

When the retopology was ready, I started to apply details to sculpture mesh. I specifically added more defined muscle and some scales, using masks and inverting and inflating them (in the Deformation Panel).

Adding detail to the mesh using tools in the Deformation panel

Adding detail to the mesh using tools in the Deformation panel

Fine Detail

For the fine detail, I made three PolyGroups: the tail, body and head. After that I split them into three SubTools to get more subdivision levels in each part. This way I could make pores, wrinkles and cracks. I used some alpha maps to do some of these details and made others using DamStandard, to give skin variation.

Using various methods to create detail in the skin texture

Using various methods to create detail in the skin texture

More detail

I worked this way over the whole of the model's texture, using some alphas of alligator's scales and other animals. The most important thing to remember is to take care that the details don't seem fake.

Examples of the textures used on the head

Examples of the textures used on the head

PolyPaint and textures

To paint the creature's textures I used PolyPaint and one alpha to give color variation to its skin. It's very important to keep this variation and to contrast darker areas in lower parts of the model, so you get more volume in the sculpture.

Using PolyPaint to give color variation and volume

Using PolyPaint to give color variation and volume

Baking maps

After I finished the PolyPaint, I Unwrapped it and baked Cavity and Displacement maps to use them in the color textures later to get more detail.

Unwrapping and creating maps for the texture

Unwrapping and creating maps for the texture

Pose

When posing the character it's nice to think about the camera angle and to look for some references. Also, you have to pay attention to the line of action and do some tests. To pose my creature, I used Transpose Master, and used masks and Rotation to pose each part of the model following my references.

Using Transpose Master to give the creature a convincing pose

Using Transpose Master to give the creature a convincing pose

When I finished the pose I used Decimation Master to export the mesh. I was doing a still image and not an animation, so I didn't need to worry about the final mesh.

Note: Always check the Keep UV option, so you can use your textures.

Light

I used the basic 3-point light concept: key light, fill light and rim light. Then I added some additional lights to light up some of the darker areas. It's always good to get some references either from photographs or other artists' work to help with lighting the scene.

Using the basic 3-point light system to light the scene

Using the basic 3-point light system to light the scene

Shaders

The shader I used was the FastSSS2 from V-Ray.

Shader settings for the texture

Shader settings for the texture

Rendering and composition

After all these processes, I rendered some passes for the final composition so I could have more control in Photoshop.

Rendering passes to help with the texturing in Photoshop

Rendering passes to help with the texturing in Photoshop

After that I got some images from the internet so I could use them in my composition. I wanted to create an ambience and not just a studio background.

Conclusion

The most important thing is to keep studying and working, because that way you will see an evolution with each model. Here is my final image:

The final image

The final image

Related links
Tiago Oliveira's website
Tiago's inspiration: Jaemin Kin's art

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