Technically, the artist needs to (and does) credit the author of the artwork he referenced and only mention what and where from the character is. Given that, this is a 3d/gaming/technical thingie-ma-jibs website that does not (and probably shouldn't really) reflect on the circumstance of the character itself, but concentrate on creation and techniques used in creation. The name of the character is referenced, but nowhere on the original art the name Sam Riegel is mentioned. As much as critter community is nice and welcoming, this part of "CREDIT THIS OR CREDIT THAT" irritates me. IMHO, Credit is given where credit is due. This 3d model was made with learning purposes only, whereas the original art is being sold. Instead of commenting "GIVE CREDIT" comment "COOL ART OF SAM'S CHARACTER" or "GREAT CRITICAL ROLE ART". All that said, this is an amazing rendition of the original artwork of the character of critical role. As a critter, I love both this piece and the idea of other critter being so talented! Peace, a member of the wonderful critter family.
You need to make it clear that this is an interpretation of someone else’s character and credit them (Sam Reigel, from Critical Role).
As great as this is, it’s not actually “your character” so you should really credit Sam Reigel of Critical Role who created this character, and make it clear this is your interpretation of it, because you make it sound like it was all your idea.
Dmitriy Sizov gave a little talk on his scary ‘Father of The Sun’ project. The artist used ZBrush, Maya, Marmoset Toolbag, Marvelous Designer and Substance Painter to bring this outstanding character to life.
I’m from Russia, born in Moscow, currently living in Saint-Petersburg. I work at a Russian company that is developing a new unannounced project. I’ve worked on Quake Champions, WWZ, Escape from Tarkov.
This work is based on a concept by a brilliant 2D artist Timofey Stepanov. When I saw it for the first time I was so inspired that I decided to create a 3D model.
First, I made a base anatomic mesh in ZBrush with freak features (like very skinny body with massive muscles). Then I added details like skin pores, wrinkles, veins, etc. I used different books on anatomy and works of other artists with the same style.
To tell the truth, everything is based on the concept, so I didn’t create it from my head. But It was a new interesting experience for me to work on torn clothes, as well as on low poly clothes with alpha channel.
This experience was also new to me. It took a lot of time to study emissive and lighting workflow in real-time engines as well as play with GI settings in Toolbag 3. In the end I managed to create an artistic composition of light.
This character could be brought inside a real-time engine.