Vick Gaza - Creature and Character Art

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on June 13, 2009

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Back to the basics ! October - November 2017

This is batch 2 of my figure drawing routine, done in October and November. 50 x A4 rendered pieces, about 500 quick poses and some studies of Torso/Pelvis perspective, Proko calls it Robo Bean. I highly suggest buying Proko resources and stock images and also his courses are fantastic.

Blurgha - The Beast (Real-time model)

So I`d like to present my latest real-time creature model done for "The Beast" competition hosted on Polycount by Allegorithmic. My attempt was to bring a creature from concept stage all the way to production level and test out Substance Painter`s baking and procedural texturing capabilities on dense meshes with multiple UDIM`s. After low poly was done, pretty much everything else was done in Substance Painter, baked perfectly in one go by playing with the Near/Far rays , then texturing was done mostly procedural (minus a few masks I had to paint myself) . The mesh has about 100k triangles, re-topologised for animation with proper UVs, spread on 4 UDIMs at 4k texture-set each. I`ve used Pixologic Zbrush for concept and sculpt phase, Topogun for retopology , Maya for mesh cleanup and UV mapping and finally Allegorithmic Substance Painter for Bake and Texture. Rendered in Toolbag / Marmoset 3 Beta. Rigging and skinning done by my amazingly talented workmate Perry Leijt

Boots progress

A little bit of info regarding time management and why do I do sculpting the way I do it. Unfortunately having both written and practice briefs and other additional personal studies going on time management is absolutely critical when it comes down to sculpting. I've learned that it's better to block in shapes and stretch and tweak them when on lower subdivision levels and then detail the existing geometry after a quick polish at a high resolution level. One of my biggest mistakes was that I was rushing and subdividing to higher levels and trying to add detail when the general shape wasn't at it`s best, lacking silouette expression, and thus it looks just as bad with or without details. Another thing I've learned was that it's too time demanding to try and polish everything to a mechanical level when the actual size of the rollerblade is quite small when character is all visible. Balancing how much detail and polish I add to an element and how big is that e

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