Last week, we clarified our task planning, and Ben and Lucy helped us establish a detailed plan in Mirror. As a result, everyone had a clear objective for this week. My task was to complete the full production process of the gargoyle.
This is the task allocation table we created in the first week, but in reality, our team members and tasks have undergone some changes. For example, we didn’t strictly stick to the listed responsibilities. Therefore, the specific contributions of each person will be summarized after the final project is completed.
Asset Creation: Gargoyle
Here is the process of creating the gargoyle asset, which I have uploaded to YouTube.
I started by using the default human model in ZBrush for the initial sculpting. After researching reference images, I found that most gargoyles are associated with bats or demons—they typically have thick, muscular limbs, horns, and large, bat-like noses. I wanted to emphasize these features in my sculpt.
Looking at gargoyle designs in games like Elden Ring, I noticed that their head-to-body ratio is still relatively human-like, moving away from the traditional small demon aesthetic. In architectural designs, gargoyles often have more compact proportions, making them appear tighter and more cohesive as purely static decorations. However, in our dungeon, the gargoyle is not just decorative—it will take flight in the third layer. So, I aimed to create a balanced design that incorporates both aspects.
Modeling：
When sculpting the head, I wanted to introduce some variations to differentiate it from traditional gargoyles.
Texture:
Test in Unreal Engine: