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Suko: Development & Post Mortem

Suko is the first of 3 stylised PBR characters based on folklore/mythical creatures. For Suko, she was based around Japanese demons called Tengu, alongside references of famous female samurai.

This character is the first in which I can apply my research from 5002 and refine my pipeline process. When I begin a character I always like to have a backstory or some kind of foundation for them; in my opinion it gives them depth and helps with design choices.

Who is Suko?

Suko is a Japanese girl/woman(?) and is a warrior who battles Tengu.

What I needed to explore:

  • Experiment with ages

  • What kind of warrior is she?

  • Onna-bugeisha "Female martial artist" [30]

  • Tomoe Gozen [31]

  • Olden era or Modern? A combination?

  • Character fights a lot

  • Old scars

  • Bruises

  • Split lips

  • Rougher hands/callouses from holding weapons

  • Is she an outcast? Ronin

Concepting

The concepting in a company is usually done by a concept artist, but because I'm doing these projects by myself they're down to me. The aim isn't to get a fully rendered illustrative piece, but to make sure I've given myself key visual design notes for 3D.

Moodboards

Pass 1

I looked at a large range of Asian women (mainly Japanese) to try and decide what facial features I want her to have. Do to her vocation I imagine her to have a tougher disposition and a sharp look in her eye.

Pass 2

After fine-tuning my list, I made note of what I like about each of them.

After I had got an idea of what kind of face I might want to have, I decided to look at the outfits. As she's a warrior I looked at real female warriors (onna-bugeisha) and see what they wear. They wear a range from samurai armour to decorated kimonos with weapons. I personally, really like the hakama; they're high-waisted pants with a multitude of folds, usually worn with a kimono top. I like these because you have the ornamental/beautiful designs of a kimono, but with the practicality of pants which will work well for Suko (a mobile warrior).

I looked at both traditional and modern style kimonos as I haven't decided what era I want Suko to be from (maybe even a mixture of both/ custom universe?)

With the modern kimonos they mix are more adventurous with the colour pallets, the hair is more relaxed, and I like the mix of modern shoes, accessories.

Now I've finished my moodboards, I'm moving on to thumbnails sketches, which is good for quick idea generation and getting all my ideas down visually. The tengu side of her outfit and weapons will be looked into when I've got a base for her outfit.

Thumbnails

The first thing I did was do some quick thumbnail sketches to get a feel for the character. I looked at my traditional outfit moodboards mainly, to try and get the onna-bugeisha feel. I tried line sketches, posed gestural silhouettes, and more detailed silhouettes. Looking at the development work from the "The Skillful Huntsman"[1] book really helped me make sense of how to go about the silhouettes as well.

These 2 were the best as they fit the feel of a younger woman, and I and my supervisor liked the design; specifically, the wide skirt and thin legs of the left sketch.

Face Exploration

I then moved onto the face, I started with a base with simple facial planes, and added more details, and tweaked as I went along. It was a bit difficult to keep her looking Japanese and I had to go over the design a few times, or go back some steps, to keep her true to her origin. While I wanted her to have a somewhat pleasing face, I didn't want her to look too cute or glam; she's supposed to be a seasoned warrior.

Hair Exploration

Suko has to have a practical hairstyle because she fights, but I didn't want it to be boring either. The main aspect of my designs was trying to balance practical vs. interesting design.

Initially this was the hairstyle I chose, I liked the mix of tied up her with a nicely framed face. I then moved onto what makeup I wanted to have. I considered a mix of traditional kabuki-style makeup and modern/light makeup. I didn't want her makeup to look too heavy or harsh, so I settled for a plain face with strong eyes; it gives her a youthful but intense feel.

Outfit/Value Exploration

I compared the new design to the old one, and I'd lost something from the original design. I ended up making her eyes larger, removing the eyebrows/drastically down-playing them, adjusted the proportions, and fully revamped the hair to better match the thumbnail. I did change the weapon the pole sword though, because it grounded the design well, and added balance.

I made some simple decals which are used to build up a kimono pattern and to use around my model. My main concept was adding surface detail without making the design look too busy. I also made sure that I was designing components that I'd actually be able to model/texture.

Colour Exploration

Using 1 accent colour, I would then add a complementary colour and work in between those for the accessories. This method was extremely useful in getting clean colour schemes. As this character isn't set in any particular time period, I wasn't limited to certain colours like I was with my Victorian FMP.

These were the strongest colour schemes which I made by combing the best parts of each colour options.

Final Design

Because I had done a 3/4 view I didn't feel the need to do full orthographics, I decided to do a side view of the face though, as some of my models suffer from pancake face. Though I'm not a concept artist I really like the design and feel I managed to capture here; it has enough information for me to model from, but is also a nice concept piece for publishing purposes to help sell the character.

3D

The 3D stages were the most crucial for me as this is where I could really refer back to my pipeline, adjust it where needed, and overall set up the foundation for how I go about creating future characters. Human characters usually start from some kind of base mesh, which will be used (albeit edited) for more than one character.

I used ZBrush because it is a professionally used program; it's often seen under the skill requirements of character artist job role advertisements.

Considering it's the first time I've started solely in ZBrush, I'm extremely happy with the turnout.

Body

Because I'm creating more than one character I decided to make a base mesh which was mostly anatomically correct. I didn't make the sculpt too defined because Suko was a stylised character and the fact that most of her body won't be seen. The hidden geometry would then be deleted on the low poly to save on triangle count.

In Zbrush I started with a sphere, then used to Move Tool and Symmetry to create a rib shape. From that I formed the rest of the body with the Transpose Tool and Masking to extrude out the limbs. To smooth the geometry I use ZRemesher, if the topology doesn't flow well, whatever you sculpt on top of it will look distorted.

Sculpting a body is so much easier than modelling one (from my experience); it was really refreshing to work with organic shapes without the hassle of having to go poly by poly.

I used the Anatomy for Artists by Barrington Barber to make sure I got the muscle structures right as this is the first proper base mesh I've sculpted.

Hands & feet Hands have always been the bane of my existence, but I did find sculpting them to be easier than modelling them. The issue I had with these was when I would ZRemesh them to clean up the topology, however mesh detail was getting lost when a full ZRemesh was done because it tried to even the topology out over the whole mesh.

The hand and feet needed a lot more mesh density because of the nails, and wrinkles; to save the detail I masked and hid the rest of the body -with FreezeBorder* turned on- to retopologise just those areas, and then did the same for the toes and fingers, which required even more mesh density.

*FreezeBorder under the ZRemesh tab this keeps the connect mesh border the same, whilst adding geometry to the remeshed geometry, this stops holes being made in the mesh because it thinks it's a separate object, and won't cause issues for baking later.

Head base mesh

The face is in most cases part of a character, it's the first thing we look for as humans and I had to get it right.

I started out with a non-descript face to get the facial planes correct, and then adjusted it to look more like an Asian female for Suko. This meant reducing some planes for a monolid, and softening the features. I was extremely happy with how much she looks like my concept.

The face was actually quite relaxing to sculpt as I'm the most familiar with them, and the orthographic side view I made (based on a real person's proportions, and then stylised for Suko- made getting the positioning and featured correct.

Hair Sculpt

As I was going for a sculpted stylised look, I had already decided to have the hair as double-sided geometry with detailing. I tried to sculpt the ponytail initially but it looked too soft, and since Suko's hair is quite straight it made more sense to have it as alphas.

I had the same issue with the hair framing the face -especially the fringe- so those were modelled and turbo-smoothed in 3dsmax for the most control.

Clothing & Weapons

The clothing was blocked out in 3dsMax, and then sculpted for detail so I could control the folds (especially on the hakama). However, I did spend a lot of time trying to get the kimono and sleeves to fold correctly, so I think next time I might make the clothing in Marvellous Designer, and then take it into ZBrush for refinement. Because the body was made well, it was easy to make the clothing adhere to it.

The weapons and feathers were modelled in 3dsMax and a light detail pass was done in ZBrush, they didn't need much surface detail as the shapes were already quite defined.

For the weapons the main thing was making sure the topology was correct as I don't often make hard surface models. I also exaggerated some parts because they weren’t reading well in 3D.

Retopology

The retopology was done in 3d-Coat as the geometry snaps to the high poly and overall is a really easy to use. I went between that and 3dsMax to get the best topology and really liked the results. I didn't have any tri-count limitations and was mainly trying to keep it realistic. From the research I'd done in 5002 I know you can get away with higher budgets, but tris shouldn't be wasted as it's bad practice.

I then unwrapped the model and merged the objects according to what texture sheet they were using.

Baking

I baked my normals and AO using XNormal, a software I'm quite used to now and gives me clean bakes.

To set up for the bake I:

  1. Decimated and exported the highpoly mesh from ZBrush.

  2. Imported the high poly model into a new scene with the low poly.

  3. I then made Exploded the low poly mesh to make sure none of the pieces would bake onto each other.

  4. Align the high poly to the exploded mesh.

  5. Export the high and low poly meshes under Mesh_HP, Mesh_LP in a new folder. I made sure to keep my original meshes and the exploded ones completely separate.

  6. Import the HP and LP into xNormal.

  7. Bake maps.

Textures

Textures can make or break a model, and it is one of the most important parts in my opinion. For texturing I had to bridge the style of my concept, and what actually works on a 3D model. I enjoy doing hand-painted textures because the results have more a personalised effect and if done well can look really good.

It took a bit longer than I expected because I was already behind schedule but because my bake turned out so well, the textures were quite effective. For the bake I had a version of my model that had the low poly pieces moved far away from each other so they won't overlap.

The larger the object, the bigger texture size I gave it. Textures where done in Photoshop because that's the software I'm most comfortable and work the fastest in.

  • Body: 1024 x 4

  • ​(Albedo, Metal, Normal, Roughness)

  • Kimono: 1024 x 5

  • ​(Albedo, Ambient Occlusion, Normal, Roughness, Specular)

  • Hair: 512 x 6

  • ​(Albedo, Ambient Occlusion, Normal, Gloss, Direction, Specular)

  • Naginata: 512 x 5

  • ​(Albedo, Ambient Occlusion, Metal, Roughness, Normal)

  • Wakizashi: 512 x 7

  • (Albedo x 2, Ambient Occlusion, Normal, Roughness, Specular x 2)

  • Set Dressing: 1024 x 3

  • ​(Albedo, Specular, Emissive)

Suko, Tengu Warrior

Final character in Marmoset viewer.

Beauty Shots & Wireframe

I'm so happy with how the character and backdrop turned out.

Tricount

  • Suko (Body/Hair/Kimono) = 40,071

  • Naginata= 1,792

  • Wakizashi= 2,728 each

  • Total= 47,319

Conclusions Q&A

1. Have I answered my brief? Whilst I would have liked to have delved more into the technical side of character such as physics, I have covered all of the marking criteria. I do however, believe my character would need more refinement before I considered her to be game-ready.

2. Did I manage my time well?

Initially yes, but I got a bit complacent/slowed down part way through the project which unfortunately had a knock-on effect. Though I can say that I had a large learning curve to get over both myself and my supervisor agreed that I should have completed stages faster and should've gotten to the polish stages faster so I could act on feedback.

3. How effective was my workflow?

It was a good guide, but there are some tweaks I would make. For instance, as I'm not a concept artist and don't need to make a final concept piece, I should spend less time concepting and just get the design to a stage where I can model/sculpt from it.

In terms of the 3D side, I learned that the process isn't so linear; you often go back and forth between software, and only really seal the deal at the texturing stages. For my next character I need to make sure I give more time for 3D and texturing.

Though I did get time to polish and present my character in a way that I was happy with, it did end up cutting into the time I have allocated for my next character.

3a. How could I improve? Not only do I need to be working faster/smarter, but I need to allocate realistic times to certain stages, and make sure I'm not wasting time. This is something you improve with experience too, so I know what and what not to do for my next character.

I also need to document my process more thoroughly throughout the project so I can reflect on how fast I’m working, and if what I’m doing in correct. 4. How would I better organise myself for future projects? Make sure I have a solid idea with all trouble-shooting done first, so the rest of the time is spent making the character, and implementing advice.

It's also good to think of how one aspect effects the others down the line e.g. Design affects 3D, which will affect how it'll be textured, and then how those in combination will affect how it's rigged/animated. 5. Most successful part of project? Texturing has always been my strong point, I think I'm quite good at capturing the 2D character's likeness in the 3D model.

Though late, I did enjoy how the character was presented. 6. What improvements I've made:

  • Texturing

  • ZBrush

  • Retopology

  • Polish & Presentation

7. What I need to improve:

  • Workflow

  • Consistent and strict workflow

  • Rigging

8. General project feelings It was a struggle near the end and I was quite stressed out because I wanted to be finished waaay sooner, but I'm happy with how my character turned out so I guess it worked out in the end. There are definitely improvements I could make to the textures and rig (which I might address at a later date) but as it stands I'm just going to apply those improvements to my future work.

I can say that I'm more confident with my work and have learnt so much during this project and I am proud of myself. 9. What's next?

I was going to do the headless horseman next, but I'm going to do the stone man instead because it will be creatively more interesting for me and isn't something I've really done before.

This week was stolen a bit by wrapping up my old project, but I did go to the Botanic Garden in Leicester and collect some cool rock and flora references for my next project. It was nice to be outside in natural light as well.

 

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ABOUT ME

Zhané James-Marshall

3D Character Artist

Hi all, my name is Zhané and I'm a Masters student at De Montfort University, researching game-ready characters.

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