Break­ing down the con­cept

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Be­fore start­ing pro­duc­tion, I take Rine­hart Ap­piah’s ini­tial con­cept for the crea­ture and start break­ing it down, think­ing about what real-life ma­te­ri­als can be ref­er­enced (leather, iron and so on), as well as which parts of the char­ac­ter can be sym­met­ri­cal. This is im­por­tant be­cause think­ing about sym­me­try early saves you time later on. If you can’t see both sides of as­sets at the same time in-game, I tend to make them sym­met­ri­cal to im­prove ef­fi­ciency.

Brass that’s grimy with some ox­i­di­s­a­tion. Mat­ted and coarse fur. Cast-iron ma­te­rial (sim­i­lar to what you might find on an iron cook­ing pot) has low re­flec­tiv­ity and gloss. I’ll be cov­er­ing this leg scar with fur, be­cause keep­ing the rear legs sym­met­ri­cal will im­prove tex­ture space ef­fi­ciency. Leg ar­mour on the sides doesn’t have to be unique on all four legs. I’ll con­sider reusing one or two pieces across the char­ac­ter.

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