![]() Using a cylinder as a base, I isolated sections of it to group individual sets of polygons. The initial FiberMesh settings used for applying feathers to the bodyįor the much larger feathers I actually created a whole new SubTool, instead of masking out an area as I had on the rest of the body. I needed to repeat this step for individual SubTools because the head needed a different type of feather coverage than the back or chest did. ![]() I then made further adjustments to the feathers covering my masked selection with the various sliders. I altered the width profile graph to set a custom shape for the fiber to follow, allowing me to plot out a feather shape. I then previewed how this would look under the FiberMesh settings and set the coverage to very high so that the fiber would be large and flat. I first began by masking out the area on my mesh that I wanted to be covered in feathers. I strongly recommend you go and check out Pablander's website for yourself! This project would not have been anywhere near as successful as I had hoped without his guidebook - so I am extremely grateful that he has shared this knowledge. I felt that the properties of marble would be a great material for me to practice mimicking in my eventual Photoshop composite.įor this section of the project I referred heavily to Pablo Munoz Gomez's (Pablander) guide on how to make feathers in ZBrush, it involves using a FiberMesh method. I had recently visited the Rodin exhibition in Montreal's Musée des Beaux-Arts and was awestruck by his beautiful marble sculptures. I also felt that including softer, light feathers would cast a nice contrast against the more solid forms of the body and plinth to breathe a bit more life into my project. Once satisfied with the pose, I turned the ZSpheres into Polymesh and used ClayBuildup, Move and Smooth brushes to develop the forms before adding subdivisions and refining details. I used the anatomy of harpy eagles, swans and owls to emphasize the bird-like features of the creature whilst also using reference of women's anatomy to blend in more human characteristics. ZSpheres provided a lot of flexibility to the design and I was able to make quick changes to the placement of limbs with ease. I did not plan to unwrap and texture the Harpy because I wanted to play around with render passes and colors in Photoshop instead, so I jumped right in to posing the creature straight away. ![]() I used symmetry to block in the initial features for the final design, then deactivated it to add some subtle asymmetry to the face to make it look a bit more natural and not too obviously computer generated. I studied the head structure of eagles sharpened the harpy's features, deepened the brow and pinched and pulled on her nose and mouth to imply the form of a beak. ![]() I tried to exaggerate and merge the rounded forms of an older lady with the round features of an owl, but this didn't communicate my idea very well - I wanted the harpy to resemble a bird of prey but it looked too creepy and cartoonish. I started with sculpting the head because I felt the face would be a good place to start to set the mood of the piece and from this develop a design language I could use throughout the rest of the creature's body. I had a strong and clear vision of how I wanted this creature to look, my primary goal was to learn how to translate my mental imagery into a believable digital sculpture using ZBrush. ![]()
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