How to Model a Cave Wyvern Concept Design Using ZBrush and Blender

Introduction

My name is Gino Kolling, and I've been a 3D Artist professionally for about 9 years now, and got into 3D as a young hobbyist. Nowadays, I more often than not contribute to projects beyond modeling and texturing creatures, also doing Design, Lookdev, Lighting, and Rendering. Sort of a Specialized Generalist. I'm driven forward by my curiosity to learn more about the different processes involved in creating cool 3D.    

In my time working, I've contributed to projects like Street Fighter V, Baldur's Gate 3, DragonHeir, Diablo IV, and many more. I've also had the opportunity to work on cinematic projects, one recently published called Outpost Alpha by Luminairi, where I designed and modeled a giant Kaiju. 

Cave Wyvern

For the Cave Wyvern project, I wanted to design and render a mid-size wyvern. Simply to explore shapes that looked cool and foreign, but still animalistic. I like making creatures without eyes, too. It always creates the question of what the creature actually senses as it hunts. Being busy with projects, I don't have a lot of time for personal work, so I try to optimize my pipeline into something with fewer technicalities involved. Each time I make one of these concept pieces, I further improve on said process. 

For the modeling, I started in ZBrush from the head, as that's the basis of the creature. The defining feature drives the rest of the design. I always start with a basic form like a cylinder or sphere and modify it using Sculptris Pro mode. I can freely modify the form without being limited by topology, density, or anything else. It's easy to just experiment and add horns or other shapes separately.

I model out the pieces separately, so usually the head and neck, then the body/tail, legs, and the arms/wings. Keeping them separate allows me to modify things quickly and sort of cleanly when designing. Once I have those pieces, it's just about modifying them to create interesting shapes that flow together nicely.

At that point, it becomes an exercise in shape language, anatomy, and texture. I think of how the creature moves, lives, hunts, and the ecosystem it inhabits. Once I create something I like, I duplicate that piece, cut out the piece I want to use, and paste it in other areas. Like, for instance, the spikes for the back. It saves me time and quickly creates visual complexity.

I keep the detail localized to focal points, so the head, chest, and back. Mostly front-loading the design, as I already knew I wanted to get some nice frontal shots later on. Sculptris gives me all the flexibility I need to add detail. I then merge the parts together using the Boolean feature and get one large watertight model.

Once that is done, I start introducing colors with PolyPaint. Using the masking features and some alphas to enhance the perceived detail. I keep in mind that it's not the final color, but I just look for a good base I can use later on when I'm shading the model.

I set up a basic pose using Transpose Master, then run a quick decimation with PolyPaint on, and I send the model to Blender for rendering.

Lighting

Once in Blender, I already have a base scene set up with a basic background, a 3-point lighting setup, and a sun. I also have a procedural material which I've built over all the concept creatures I've made. I use the PolyPaint as an input to drive masks, different colors, and projected textures, Roughness, etc. This allows me to "texture" the model in a few minutes, shifting textures around and tweaking colors in the material.

Next, I changed the HDRI and lighting setup to create a cinematic mood that resembles what I had in mind. I try to make the model look realistic by controlling the camera, light, and material. It usually takes a bit of tweaking. 

The HDRI is used as a backdrop, and the light is driven by my key area light, usually. For post-processing, I keep it simple and inside of Blender. Applying a bit of bloom, some subtle color correction, and a bit of sharpening.

I really enjoy this workflow, it allows me to focus on the creative aspects of 3D and design while keeping technicalities for client projects.

Conclusion

In terms of my advice for beginners, I would say to stay curious and keep learning, but most importantly, have fun. If it's not fun for you, ask yourself why that is and approach things differently.

Gino Kolling, Creature Artist

Interview conducted by Emma Collins