###### tags: `CG Pipeline` `Games Art` `MA Games Art`
(https://hackmd.io/@JunoFBX/B1PoyaPZyl)
### CG Industry Pipeline (6G7V0036_2425_9)
### Games Art (Masters)
### Junaid Sheikh - 19096503

# CG Industry Pipeline

## Introduction
The CG Industry Pipeline project offers an opportunity to enhance our understanding of the Game Art production pipeline by cultivating specialized skills from a selected area of expertise.
The primary objective of this project is to assess production pipelines and gain new knowledge and skills through experimental processes.

## Project Brief

For this project, I aim to create a fully concepted 3D creature by expanding my knowledge on detailed 3D modelling, texturing and rendering for video game production.
My objectives for this project are to develop my understanding of the 3D sculpting production process by applying an understanding of mid frequency sculpting to my modelling process, creating a multitude of different custom-made shaders and materials and learning the uses of alpha channel maps in high quality detailing.

### Project Goals
My aim is to develop my understanding of creature concept work and 3D modelling, specifically looking towards the production of a high-quality 3D creature model that is functional for video games. I will achieve these aims by setting the following objectives:

- Learn techniques for Mid-Frequency sculpting in Zbrush to create detailed and optimised models.
- Write a case study on thematics of biohorror
- Create a high quality creature model that is well informed by research.
- Creating custom materials.
- Experiment with Alphas, photogrammetry.

# Week 1
## Moodboard and Visual Research

Upon defining my objectives and considering my outcome for this project, I began to plan for my creature concept. I made a comprehensive reference collection of a variety of animals, insects, reptiles, and prehistoric creatures as well as a reference board of creatures from films and video games. I made sure to prioritise having an extensive reference list that could serve as a source of inspiration. My overall goal would be to develop a distinctive creature design that is thoroughly informed by relevant imagery.

Creating a large reference list will be important in developing a creature concept that aligns well with the thematic I would like to achieve, specifically for a survival horror scenario. Below are some mood boards of inspirational material that I believe relate well to my thematic for the project.

### Natural Reference moodboard
*Moodboard reference showing images of snakes, snake vertebrae, monitor lizards, stag beetles, flower beetles and prehistoric insects.*

### Film Reference moodboard
*Moodboard references showing various book and film related creatures, such as the Shai Hulud (Frank Herbert's Dune series), Arachnids (Starship Troopers), Xenomorphs (Alien series) and Bioraptors (Pitch Black).*

### Videogame Reference Moodboard
*Moodboard references showing various creatures and monsters from video games such as Duriel, the Lord of Pain (Diablo series), the Lambent Infestation (Gears of War 3), Corpser (Gears of War series), Leviathans (Subnautica series), Tyranids (Warhammer 40k and Space Marine 2) and Termnids (Helldivers 2).*

# Week 2

## Questionnaire

While looking for thematic research, I requested the input of a variety of people, prompting them to fill out a questionnaire. I wanted to get a varied set of opinions on peoples' favourite forms of entertainment that include or mention a creature or alien as an antagonist.

I developed a simple questionnaire consisting of two questions aimed at gaining insights into different peoples' favourite creature designs, specifically to see the elements that make them unique or engaging. The information I would gather from this would be valuable for informing my future concept designs and give me a more broader spectrum of references for me to use that could contribute to my ZBrush sculpt.

*Figure 1: Screenshot of my questionnaire, asking questions related to my topic of interest.*

---
## Questionnaire results

Below are the results of the questionnaire responses from those who responded to the questions. I encouraged everyone involved to provide multiple answers so that I could diversify the responses, potentially also highlighting references that may not be familiar with the majority.

*Figure 2: Chart of all collected results, with a variety of different responses.*

---
#### Book and film related responses
Majority of the recommendations mentioned creatures from the works of H.R Geiger and J.R.R Tolkien, as well as creature/alien concepts from the following film, book and comic franchises:

- Arachnids (Starship Troopers)
- Chitauri Leviathans (Avengers MCU films)
- Clover (Cloverfield film series)
- Death Angels (A Quiet Place film series)
- Godzilla (Godzilla film series, King Kong film series, various others)
- Graboids (Tremors film series)
- Hybrid shark (Creature, 1998 film)
- Kessler Wolf (American Werewolf in London)
- Nazgul (Lord of the Rings film franchise/book series)
- Piccolo and Frieza (Dragonball Z series)
- Polymorph (Red Dwarf series)
- Xenomorph and Xenomorph Queen (Alien film series)
- Weeping Angels and The Silence (Doctor Who TV series)

---
#### Videogame related responses
There were also a variety of interesting videogame creature and alien recommendations that I found were thought provoking and provided interesting material that could contribute towards my concept design for a creature. Below are some of the suggestions I received from my questionnaire:

- Brainiac (Injustice 2, DCU)
- Covenant (Halo Series)
- Giygas (EarthBound)
- Lavos (Chrono Trigger)
- Leviathan class organisms (Subnautica)
- Mindflayers (Baldur's Gate 3)
- Terminids (Helldivers 2)
- The Marker/Necromorphs (Dead Space series)
- The Reapers, The Collectors (Mass Effect series)
- Tyranids (Warhammer 40k)

I decided to compile the responses of the most popular suggestions from the responses, as well as some of the more unconventional or unique suggestions I received so I could diversify the results and the potential for inspiration. Below are some screenshots of popular recommendations as well as some I picked due to their in depth descriptions and interesting concepts.

### Questionnaire results - Xenomorph responses

Below are all the responses relating to opinions on the Xenomorph as an alien/creature that serves as an antagonist. A lot of these reviews were in depth, describing the features of its appearance, why it appears menacing and overall why it makes a good example as an antagonist of the *Alien* series.

*Figure 3: Reviews of the Xenomorph concept by various individuals.*

---
### Questionnaire results - Distinctive responses

Below are some of the more unique recommendations by those who engaged with the survey. These reviews were interesting to read as they suggested a lot of unconventional creature and alien concepts that are not as well known but had an interesting concept behind their role within the film or videogame they originate from.

*Figure 4: Reviews of various unique creature concepts that I liked the uniqueness of based off the lore or physical elements of its creature design.*

# Week 3
## Expanding Research

Upon receiving such an extensive thematic reference list, I decided to expand my mood board list, and also do some analysis on some of the more popular designs to see the characteristics about those designs that make them unique and popular amongst the collective. This would allow for me to begin working on concepting ideas.

I had a vision for creating an alien creature that resembled the form of a snake with heavier scale plating and with appendages. Majority of creatures in video games tend to instil emotions into the player, so I wanted to take an in depth look at creature development, specifically for survival horror games and how they are empirically designed to instil feelings of fear, shock and similar emotions. This is why in the next week; I decided to conduct a case study on the thematic of biohorror and on the design concept of the Xenomorph from the *Alien* franchise.

# Week 4
## Case Study - Biohorror and the Creation of Fear in Video Games

### Synopsis

There is a concept known as the 'call of the void', an inexplicable desire to confront the unknown, even when it terrifies us. The purpose of this case study is to delve into the phenomenon of the fear of the unknown, focusing on how it is amplified through themes of bio-horror in storytelling and popular media.
To support this case study, I will analyse the film *Aliens* (1986) and a critically acclaimed survival horror game inspired by the film series: *Alien: Isolation (Creative Assembly, 2014)*. By analysing these video games, we can gain insight into not only the concept of their designs but also why they are so effective in eliciting fearful reactions from players.

### Introduction

Our obsession with understanding all aspects of life can sometimes lead to us developing fears for what is unclear. However uncomfortable it may be, it is necessary to explore the psychology behind these obsessions and phobias to gain a clearer understanding of the environment around us.

### The embodiment of Xenophobia

When it comes to the unknown, it often triggers both fascination and dread as we attempt to make sense of the unintelligible. Within horror films and video games, this can be exploited to present the audience with the anticipation of being hunted. The fear of the unknown stems from the lack of knowledge, so in video games combining unsettling environments and existential dread can create a unique and unsettling experience for the player.

One of the most iconic examples of xenophobia (fear of the unknown) and bio-horror is the Xenomorph, initially introduced in Ridley Scott's film *Alien* (1979) and later adapted into various video games. The Xenomorph's design, created by H.R. Giger presents itself as the peak of alien horror as the more we uncover its origins and capabilities, the more terrifying it becomes. Its concept capitalises on themes of a parasitic nature, grotesque violence and evolutionary adaptation, making it a terrifying creature.

### Xenomorph in Aliens (1986) film

As a sequel to the film *Alien* (1979), the film continues to develop themes of fearing the unknown and using cinematography to capitalise on the audiences' anticipations and anxieties when they least expect it. The Xenomorph's lifecycle begins from a parasitic Facehugger and once securing a host, develops into the Chestburster, until finally reaching full adulthood. The theme of body horror through parasitic invasion plays with the audience's natural fear of diseases and aversion to gore, making the creature all the more gruesome in its origins.

*Figure 5: Ambush scene in the film Aliens (1986) [Screenshot].*

Figure 5 depicts a Colonial Marine exploring a deserted space colony overrun by the Xenomorphs' presence. The Xenomorphs have been known to succeed in dark environments, choosing to ambush their prey and use the environment to their advantage. The Xenomorph tactics are reminiscent of Commando units in the Army, while the Colonial Marines have a role reversal, acting less logical in their efforts as their numbers dwindle to the Xenomorphs.

The ambush scene in *Aliens* (1986), maximises the tension by presenting the audience with clear information, yet the results are contradictory until the last moment. The prequel *Alien* (1979) had a reputation for completely terrifying its audiences, some of whom passed out or vomited from the chestburster scene. With these implementations of bio-horror in its design and keeping an anxious audience captivated, the scene was able to terrify its audiences amongst the chaos.

### Xenomorph in Alien: Isolation (2014)

The events of *Alien: Isolation* (2014) are set within a derelict space station and capitalises on this by amplifying the notion of being isolated with a deadly alien. *Alien: Isolation (2014)* situates players at the centre of claustrophobic, dimly lit environments and uses fear as a narrative and emotional tool to illicit a fight or flight response, triggering survival-based reflexes from its players.

*Figure 6: First encounter with the Xenomorph in Alien: Isolation (2014) [Screenshot].*

Figure 6 depicts the first instance of interacting with the Xenomorph, where it crawls out of a ceiling vent and begins to patrol the space station. The game's focus on mechanics, environmental storytelling, and audio-visual elements all contribute to evoking feelings of vulnerability, amplifying the terror of encountering the incomprehensible. A combination of a dark, imposing, and deadly creature design with claustrophobic, dimly lit environments aids in creating an unnerving atmosphere that the player is forced to navigate while considering actions that could attract unwanted attention.

### Xenomorph: A killer by design

When analysing the Xenomorph design, it is important to consider how its anatomy fits themes of bio-horror. Looking at psychological theories such as 'uncanny valley' and the literary works of H.P. Lovecraft, it is evident that fear extends beyond the individual and towards a societal understanding of cultural/religious anxieties and human capabilities. We are comforted by those that exhibit human-like tendencies but are unnerved by things that imitate human behaviour or appearances.

#### Physiological features

To gain a better understanding as to why the Xenomorph succeeds in the bio-horror and alien horror genre, it is important to understand the physiological composition of its design and how it works in unison with its aggressive behaviour to frighten its audiences.

The Xenomorph has a lack of eyes, which makes its appearance quite unsettling as without eyes we are deprived of any emotional connection or ability to understand its body language. Because of this, its significantly harder to gauge its motives or sense of morality which when paired with its aggressive nature, makes it terrifying to encounter.

In addition to the lack of eyes and aggressive nature, the Xenomorphs biomechanical appearance proves it has adapted well to a hostile environment and succeeds at being at the top of the food chain. Its elongated limbs makes it more imposing, while its glossy exoskeleton showcases its unsettling organic composition. The true horror of the Xenomorph comes with its razor sharp claws, whip-like tail and second inner jaws which all pair with its relentless aggression to boost its deadly capabilites in combat or when stalking its prey.

*Figure 7: Anatomy of a Xenomorph, u/act1989, 2020*

Figure 7 depicts a detailed diagram of Xenomorph anatomy, outlining the physiological attributes that portray it as a prime example of a predator. By examining its physical attributes, we can understand why it succeeds as a predatory alien. The design of the Xenomorph from *Alien* (1979) has been further applied to video games such as Mortal Kombat X (2015), in which its deadly capabilities have continued to succeed in other franchises.

### Conclusion

It can be regarded that the Xenomorph's design is a strong testament to the power that bio-horror has in being able to elicit fear. Its design embodies xenophobia and existential terror to leave film audiences and gamers with deeply unsettling experiences that resonate with their natural fears. As a result, the Xenomorph remains a remarkable example of effective alien design, continuing to haunt the imaginations of gamers and horror enthusiasts alike.

### Bibliography

Figure 5: Cameron, J , Hurd, G.A. (1986) *Aliens* [film]. United States, United Kingdom: Twentieth Century Fox Home Entertainment.

Figure 6: *Alien: Isolation* (standard edition). 2014. Xbox, PlayStation [Game]. Creative Assembly, Feral Interactive, Horsham, England.

Figure 7: u/act1989, (2020) Anatomy of a Xenomorph, Anatomy of a Xenomorph - r/LV426. Available at: https://www.reddit.com/r/LV426/comments/k32rfw/anatomy_of_a_xenomorph/ (Accessed: December 2024).

# Week 5
## Primary Research

After collecting data and visual references, I decided to collect some primary photographic research of my own that I could use as references in developing a creature concept. I had previously visited the Museum für Naturkunde Berlin, Germany in November 2019 and the University of Manchester's museum in January 2024, both of which provided a great source of material for me to consider developing my own creature designs.

*Figure 8: Collective of photographs of Natural and Prehistoric life (2019). Museum für Naturkunde Berlin.*

*Figure 9: Collective of photographs of the Manchester Museum's Vivarium and the Living Worlds and Nature's Library exhibit.*

# Week 6

## Concept Development

After thorough primary and secondary research gathering and conducting a case study on the thematic of Biohorror and fear of the unknown, I felt ready to progress into my concept development, creating my initial concept for the alien/creature.

*Figure 10: Concept art for my alien/creature, inspired by the works of H.R Geiger (artist for the Xenomorph, Aliens) and Patrick Tatopoulos (artist for Bioraptors, Pitch Black).*

I took a lot of inspiration from the design of the Xenomorph, especially when considering features that could embody the thematic of biohorror and create an unnerving appearance. I wanted to focus on creating a sleek and terrifying design that's inspired by my reference board and characteristics highlighted in my case study.

# Week 7

## Developing my own workflow

While I consider myself proficient with using ZBrush's base toolkit, I have wanted to develop my skills further by creating high quality models that hold lots of details. I have in the past created ZBrush models with surface levels of detail, often not considering the possibility of it becoming animated and so I wanted to create a creature that could eventually be rigged and animated but could also retain a lot of detail to its characteristics to make it appear more believable in a realistic environment.

I began to look at techniques and workflows for modelling high quality models and began to take note of processes such as mid-frequency sculpting, UDIMs for texturing and utilising Alpha channels in ZBrush.

### Mid-Frequency sculpting

To develop my skills further, I began to look at mid-frequency sculpting and its uses. Mid-frequency refers to the levels of detail a model has, being a middle ground between high-frequency models with fine details and low-frequency models that are often low poly and characterised by broad forms.

In order to work with a mid-frequency workflow, it is essential to consider how much detail can be added for optimisation purposes. When sculpting characters or organic models, features such as muscle tone, skin folds and wrinkles convey a good level of structure, but aren't too detailed to appear as fine wrinkles or pores. While considering this it is also important to consider anatomical details to add a level of realism, such as how muscles connect to bones and allow for joints to move in certain directional movements.

Below are some reasons for applying a Mid-frequency workflow:

- **Workflow Efficiency**: Mid-frequency allows you to make large adjustments to the sculpt with ease and are able to ensure it is proportionally correct before committing too much time towards adding details.

- **Base for High-Frequency Details**: Mid-frequency details serve as a foundation that can later support the finer details such as skin pores whilst ensuring that the model's forms look natural and realistic in final renders.

- **Performance Considerations**: Mid-frequency details are also a compromise between visual fidelity and polygon budget. It's important to balance how much detail you add, especially if the model will be used in real-time applications (like games or VR) as overcompensating with details could lead to slower frame rates and higher hardware requirements that could undercut certain audiences.

- **Optimisation Purposes**: By applying mid-frequency techniques, you can focus on creating a foundation for later details but can also serve as an optimised model that is ready for game implementation.

#### Applying Mid-Frequency workflow

When applying mid-frequency techniques to sculpting, it can be a good way to understand how the form can develop further without focusing on adding extreme levels of detail too early and having to restructure components later on. Mid-frequency sculpting is essential for adding more volume to a basic sculpt, making it more believable.

The main reason for applying Mid-frequency sculpting techniques to my creature sculpt is to improve efficiency towards my workflow. I often get too focused on details earlier on rather than allowing myself to develop details as they need to be added, which can harm the sculpting process. I would like to make sure that forms are correctly applied when it comes to proportions before I commit to adding high-frequency details to the model.

#### How to Work with Mid-Frequency

When looking at mid-frequency workflows of certain artists that use ZBrush to sculpt organic models and hard surface models, there were three main factors that were important to the workflow.

- **Sculpting in Layers**: ZBrush has an extensive toolkit that allows for working with sculpting brushes that provide mid-frequency detail, so working in layers, especially for natural and organic forms, can allow for details to be presented in simple forms without overcompensating with the finer details.

- **Subdivision Levels**: Being able to work at multiple subdivision levels allows you to add more detailed and refined mid-frequency details while retaining the larger shape, which is great for keeping the model optimised but also allowing for high-frequency detailing to be added later on for things like cutscenes and high-quality renders.

- **Appropriate Brush Usage**: Brushes designed for larger forms like the "Clay Buildup", "DamStandard" and "Move" brush are great for mid-frequency details as they allow for quick build-up of anatomy or refining specific features without overcomplicating the model.

### Alpha Channels - High-frequency sculpting

Alpha Channels can be a great method for adding finer details after creating a model with the mid-frequency workflow as they allow for finer details like wrinkles and weathering effects to be applied to 3D sculpted models. Alpha channel maps can be used as a brush in ZBrush by extracting details from a greyscale map and applying it as height detail where the white areas represent added mass, and the black represent flat or reduced mass.

The benefit of using Alpha channel brushes is that it allows for you to generate custom brushes and add unique levels of texture to your 3D sculpts efficiently without having to manually sculpt each detail. This can allow for time saving especially with complex models like armour sets which are often uniform in styles but vary with detailing. Along with this, Alpha channels can be used as masks, allowing for more precise control over sculpted elements.

### UDIMs

After creating sufficient mid-frequency and high-frequency variants of the sculpted model, I found that UDIM workflow for texturing could be of particular use for expanding my own skillset. Prior to this, I would always limit myself to the standard method of UV workflow and wanted to find ways of increasing levels of detail for models.

UDIMs main beneficial use is its ability to provide higher quality texture resolutions for detailed models. UDIMs (U-Dimensional layout) are a tiling system that improves on the UV mapping workflow by allowing for textures to span multiple UV tiles. This provides the ability to use high-resolution textures for different parts of a model without being constrained to a single UV space, which means each texture map can be entirely separate. By splitting textures across multiple UV tiles, UDIMs allow for optimized memory usage as each tile is only rendered in when necessary.

On top of this, complex models allow for seamless detailing across all parts of the model, removing the possibility of visible texture seams and each UV tile can represent different material properties which allows for more precise control over every texture set.

### Creating my workflow

After researching various artists and learning of technical habits by various game artists and sculptors alike, I decided to reinvent my workflow by starting the process with mid-frequency modelling, utilising Alpha Channels for high-frequency modelling and then finally using UDIMs for my texture sets which hopefully would allow me to improve on my ability to create high quality models without hindering the modelling process or its ability to remain optimised.

## Week 8-10 ZBrush Modelling Process

After learning of various methods that benefit an organic creature sculpt workflow, I began to apply the research and knowledge I gathered and apply it to my own workflow. This constituted of me first mapping out forms in low-frequency to get a generalised shape that could serve as a canvas for mid-frequency details like muscle mass to be built upon afterwards.

I initially had three separate attempts at making the head form, as my goal was to develop a sculpted model that connected with themes of biohorror and mirrored the forms of my concept art.
The first attempt proved challenging as I pulled the head apart but left little room to expand on further details. The second attempt was an improvement, but I still did not feel comfortable building mid-frequency details. The third attempt was the best representation of the concept art I developed, and enabled me to start applying mid-frequency techniques, enhancing the overall model with more volume and form.

*Screenshots of my sculpting progression in ZBrush, in which I had three separate attempts at modelling the head.*

#### Second attempt at alien head in Zbrush

Below is a video recording of my attempt to model the head with mid-frequency techniques. After developing the form I began to sharpen the horns and jaw, and started adding mass to the overall head model. Shortly after, I decided to start from scratch again and try to model it again by mapping out the forms more accurately as I felt I got too invested in adding details early.

*Screenshot of the first major attempt of the alien head in ZBrush.*

Link to video: https://youtu.be/4wyLTd3fucw

#### Third attempt at alien head in Zbrush

The third attempt was the most successful attempt at sculpting the alien creature head as I made sure to follow the proportions of the sketches I developed and focused on the anatomical structure. I made sure this time to focus more on getting the proportions and the form right before adding volume. This meant that when i started developing details slowly, it would not take away too much from the original form and would likely be easier to modify as I went along.

I found that when attempting the mid-frequency detailing, the "Pinch", "DamStandard", "TrimDynamic" and "SnakeHook" brushes were great for refining details and achieving sharper and more detailed features like the teeth and horns while brushes like "ClayBuildup", "Move" and "KnifeLasso" brushes were great for building up sections like the jawline, gums and adding to the overall body mass.

*Screenshots of my process for the second major attempt at sculpting the alien head in ZBrush, with mid-frequency techniques.*

Below is a link to the development of this model using mid-frequency modelling techniques. I was able to successfully progress with the model, sculpting in muscle mass around the head, adding details like gums around the teeth and extra detailing to the front of the head, jaws and teeth.

*Screenshot of the second major attempt of the alien head in ZBrush.*

Link to video: https://youtu.be/7kWaAo12xW8

---
#### Final Turntable of Alien Head

Below is the final turntable video for the Alien head sculpt I produced using Zbrush.

*Screenshot of the final head model for the alien head, made in ZBrush.*

Link to video: https://youtu.be/lEFEQ7Qf-Ks

## Week 11 Material Development

### Alpha Channel testing with photographs in Photoshop

After learning about Alpha Channels, I promptly started using Adobe Substance Sampler to start generating Alpha Channels using greyscale images and converting them into height data. I first sourced a variety of high quality texture images of various surfaces like rocks and wooden planks, converting the images into greyscale, adding a vignette effect and importing it as a usable Alpha in ZBrush.

*Screenshot showing a selection of Alpha Channel Brushes I developed using Adobe Substance Sampler and importing to ZBrush.*

### Material testing in Substance Sampler
Substance Sampler is also a very useful software as it allows for the generation of custom materials, specifically from the generation of images. This would allow for the development of custom material development in Substance Painter that could be easily modified for use in texturing a model. Using the same images from the Alpha channel test, I was able to start developing materials that could then be imported into Substance Painter.

*Screenshot showing a collective of materials generated from photographs and converted into texture materials.*

## Final Report

Reflecting on the overall unit, I have developed a variety of skills concerning my approach to tackling games art production with a more informed response. At the beginning of my project, I chose to take a more research focused attitude, hoping to develop a concept that was well informed by thorough research.

I used vital research from my questionnaire to inform the decision on writing a case study specifically on the composition of the Xenomorph and its appearances in modern media. After doing a case study discussing the concept of the Xenomorph, it inspired me to develop the concept for my creature. By analysing the work of H.R. Geiger and the producers of the *Alien* film franchise, I was able to gain insight into how I could create my own body of work that could show clear connections to the thematic of biohorror and 'fear of the unknown'. I found that expanding my research beyond mood board composition exceptionally useful for developing a well-informed creature design as I chose to focus on creating something that could work well by design as well as aesthetic.

### What I have gained from this project
This unit gave me the opportunity to learn more about Games Art workflows, specifically within the field of 3D sculpting which is a field I am not particularly well-versed in. I started this unit with a base level knowledge of 3D sculpting, capable of being able to create low-frequency models that lacked depth. Through investigating other artist workflows, I was able to gain insight into methods such as Mid-frequency sculpting techniques for adding details onto basic forms, alpha channels for developing mid-frequency models into high quality models for renders and UDIMs for creating optimised and high-resolution texture sets.

On top of improving on my sculpting workflow for ZBrush, I was able to develop a better understanding of how to create custom materials and custom Alpha channels. This is a major improvement as it has opened the possibility of using photographs as a texture material through Adobe Substance Sampler, or by converting photographs into height data and using it as an Alpha Channel in ZBrush. This is proven to be a great way at efficiently adding details without having to sculpt every individual detail and is something I look forward to implementing a lot more in future projects.

### Future developments
With the time constraints for the project, I wasn't quite able to meet my goals. I had initially planned to do research; have it informed my concept and develop my understanding of 3D sculpting with a more research-oriented approach. I am very confident with my ability to research thematic, find innovations in workflows and apply them to my own skillset. With the extensive levels of research I have conducted, I am confident that my knowledge of ZBrush sculpting has improved from prior projects.

Given more time for the project, I could see the initial model and concept developing further, with more emphasis on its design to signify stronger elements of biohorror. The concept could have been developed further with more iterations on its design to possibly create a stronger concept that connects to the themes of biohorror. I would have also liked to finish texturing the model, possibly rig it and also create a diorama to fully embody the themes of biohorror for my work.

Looking at the work done for this project, I am optimistic of my ability to use the knowledge I have gained and apply it to future projects. I believe that although I did not reach my intended final goal for the project, I have developed beneficial skills and knowledge in 3D sculpting within ZBrush and look forward to applying those skills in future projects with a balanced focus on research and production respectively.

Overall, this module has allowed me to explore a new workflow, expand on my current knowledge of ZBrush and allowed me to develop a more informed way of producing Games Art.

## Bibliography

Figure 1: Sheikh, J (14 Nov, 2024) Screenshot of questionnaire with thematic research questions [Screenshot].

Figure 1: Sheikh, J (14 Nov, 2024) Chart of results for questionnaire [Screenshot].

Figure 3: Sheikh, J (15 Nov, 2024) Screenshot of questionnaire reviews on the *Xenomorph concept* from the *Alien* franchise. [Screenshot].

Figure 4: Sheikh, J (15 Nov, 2024) Screenshot of questionnaire reviews on *Distinctive and lesser known creatures*. [Screenshot].

Figure 5: Cameron, J , Hurd, G.A. (1986) *Aliens* [film]. United States, United Kingdom: Twentieth Century Fox Home Entertainment.

Figure 6: *Alien: Isolation* (standard edition). 2014. Xbox, PlayStation [Game]. Creative Assembly, Feral Interactive, Horsham, England.

Figure 7: u/act1989, (2020) Anatomy of a Xenomorph, Anatomy of a Xenomorph - r/LV426. Available at: https://www.reddit.com/r/LV426/comments/k32rfw/anatomy_of_a_xenomorph/ (Accessed: December 2024).

Figure 8: Sheikh, J. (7 Nov, 2019) Collective of photographs of Natural and Prehistoric life [Photographs]. Unpublished.

Figure 9: Sheikh, J (31 Jan, 2024) Collective of photographs of the Vivarium and the Living Worlds and Nature's Library exhibit [Photographs]. Unpublished.