The workflow behind this piece involved sculpting and re-topologizing the base-mesh by hand, and likewise modeling clothes around her; after transferring the high-poly mesh's normals to the low-poly mesh, the low-poly mesh could be rigged, weight-painted, and posed to slay.

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Unlike much of my other work, only a handful of elements were herein procedural: her spiral were produced by projecting a straight line onto the base-mesh in spiraling directions, and her horn-like hair, as well as the fluffy bits in her outfit, were all done with clever manipulation of Bezier curves.