Content and task:
To ensure a reasonable timeline, I need to allocate time for rigging, animation, scene creation, rendering, and editing. Therefore, I should aim to spend one week on creating the high-poly model and sculpting the details. This week will be dedicated entirely to detailing the sculpt.
First part of detail:
I used subdivision and projection to ensure the model’s polycount is appropriate. Later, I will bake the high-poly details onto the base model, but that will be part of the work in Substance Painter.
The creation of details is mainly divided into two parts.
The first part involves sculpting the primary details, such as the flowing lines and muscle definition.
Second part of detail:
The second part focuses on the skin details, including its rough texture, scales, wrinkles, and rock-like cracks. I will use various brushes to create these features.
The second part of the detailing, along with UV unwrapping and base color painting, can be found in the following video.
I want to add some details to its horns, such as making the outer shell appear rock-like and hard. Over time, due to wear and tear, cracks will form, and some of the worn-out shell will expose the jade-like material beneath.
The next step is to export the first level model, which is the baked model, and use rizomuv to cut the uv, which you can also see in the video
Use RizomUV to cut uv
For the body, since I’ve combined the head, arms, and torso into a single model, I need to use UDIM to ensure the texture resolution is maintained properly.
Use Zbrush paint base color
Then, I continue using ZBrush to paint the base colors because ZBrush’s masking tools are more effective than those in Substance Painter. I’ll complete the base color in ZBrush, export it, and then import the base color into Substance Painter for further work.