This is a model made during my training week with Pierrick Picaut.
Many thanks to him for his support and his valuable advices about design workflow, sculpting, texture painting, hair particle systems, material creation… I learned a lot.
We also had really interesting discussions about the concept of this character. Unfortunately, I didn’t succeed in embodying all ideas we discussed about.
Eventually, Pierrick has released his own version :
Sphinge is the French word for female sphinx. From my perspective, it is fundamentally a dual character: fascinating and repelling.
It is interesting that the two versions we created are mainly influenced by a different side of this duality.
Mine is mainly influenced by the mystical and fascinating aspect.
Sculpting, texture painting, rigging, posing and compositing were made in Blender.
Retopology was automatically done in ZBrush because we didn’t want to spend too much time on this step.
I just slightly modified the final images in Krita to remove an ugly seam which was too noticeable :mad:
These are greats, your tutor must be super proud of you :D:D:D:D:D
She’s realy disturbing, that’s all we want.
Your background is a bit too flat though.
If you still have the compositing file you should add some depth using contrast from center to borders…
“Now, this may sound weird, but …” neither the chest nor the legs of your figure should ever be “the brightest and/or the most-contrasty part of the TWO(!!)-Dee image.”
Neither should “equally-lit(!)” clouds-of-whatever-it-is surround its face."
Be-cause … “when presented with any sort of image, your eyes will immediately be drawn to the brightest, and then to the most-contrasty part of the image.”
Furthermore, your eyes will then expect to be led along a circularpath which must(!) somehow return to its point of origin.
The final static image in post #3(IMHO …) fails this test in several areas. The character’s torso, and the top panel of its right wing, and its forelegs (further confused by the “mist” that seems to pass in front of the foreleg and therefore to connect it to the surrounding mist, all compete to drive the viewer’s visual attention away from the one point in the frame where it absolutely must(!) be: the face.
Think outside the frame. I think that the shadow under the chin and along the right side of the face draw attention away from it. And, how about cropping? Lose both areas to either side of the wings. Why do we need to be looking up? What if we looked down, instead?
