3D Character Design

3D Character Design Renders

Rendered Turntables and Shots

In the final step of the project, the model was imported into Marmoset Toolbag 4, a rendering software that allowed the model to be rendered using raytracing in different mediums (video and images). With raytracing it helped make Maki look more realistic, since it helps better reflect lights and shades in her model. This also helped emulate what her model would look like in an immersive game engine.

Lighting Experimentation

Similar to the shots in Substance Painter and later on the exploratory beauty shots, with these pieces: I experimented with vibrant lighting in order to reflect the models tone and how she’d be percieved in different lighting engines.

Blue and Red – two colours that differentiate one another with one indicating coldness and the other indicating warmth – visually showing the two sides of her personality.

The dark red lighting however, perfectly captures the eerie and dark tone to her character. Rather than adding blood to her model – the lights subtly indicate to the player that the character holds dark secrets / intents. It also helps create an even stronger contrast to the originally pale colour scheme.

Finally with these beauty shots, I changed the lightings position so it faced directly below her chin.

With this, I created more beauty shots for the model – Along with her glassy look, the lighting really helped shift the aura for her character, creating a sinsiter and dark look to her personality and possibly how the player percieves her as a spirit of the vengeful Akimoto shrine.


3D modelling for characters has been a difficult process to work through. However, it does not mean it didn’t come with it’s benefits. Learning Zbrush and it’s tools allowed me to not only improve my anatomy but to understand how to translate 2D art into 3D, which in experience, is a learning curve that has been achieved.

Retapology and UV unwrapping, however, are both the weakest points of the model as it came with baking and UV errors – to improve, it would be beneficial to clean up the retapology and redo areas that have disconnected edge loops / quads. This also could’ve made UV unwrapping a lot easier.

In terms of her design however, especially when texturing, the 2D patterns and understanding lighting and shading really furthered my understanding in 3D character art. This project, overall, had both it’s strengths and weak points but has been an innovative learning experience when creating and designing models and characters.