Game-ready model - Scarlet Shadow

My goal was to create a high-quality product that could be used in various projects. To achieve this, I followed the industry-standard 3D modeling workflow. Additionally, I experimented with new techniques that helped me work more efficiently and re-evaluate mistakes I had made in previous projects.

I have always been inspired by games with a gothic theme, especially those involving vampires in a more modern setting. Games like Vampire: The Masquerade – Bloodlines (Troika Games, 2004) and Vampyr (Dontnod Entertainment, 2018) immediately come to mind. However, there are not many games in this genre, and most of them lean towards realism. As a result, the idea of creating a modern and stylized character for a potential third-person RPG emerged – a character that could captivate players with both its appearance and story.

Starting with a search for references, I focused on a more modern style, while trying to maintain a gothic aesthetic. I looked for inspiration not only in the media, but also among real people who dress in a similar style. In my moodboard I tried to include different design solutions, as well as characteristic things from different eras.

I decided to start with a silhouette to figure out how to best portray the character's personality. My goal is not just to show the vampire girl's youthfulness and innocence, but also to demonstrate her powerful traits while avoiding an overtly aggressive pose. As a result, I chose a position in which she stands comfortably while extending her claws, scaring away a potential enemy.

Following that, I began creating a variety of designs based on my moodboard. These designs incorporate traditional gothic aspects such as sharp and curved lines, silver ornamentation, and a distinctive colour palette consisting of black and red shades. To choose the final design, I decided to ask for feedback from my coursemates and lecturers. The fourth option was the winner after counting votes.

The majority agreed that the chosen design best represented the aesthetics of a classic gothic style. As I worked on polishing the sketch into the final version, I made a few minor changes to improve the drawing's quality and detail. I also considered the lecturers' remarks and focused on the issues they emphasized.

Final design gives me a clear sense of how the finished project should look visually. My attention is now directed to the following development stage, which is the production and realization of my idea in the 3D field. 

After finishing the design, I began the process of reproducing the model in 3D. I started out by using basic shapes like spheres, cylinders, and so on, which allowed me to gradually improve the shapes of the model. 

I sculpted the face and body separately to focus on each element in more detail. However, during the merging process, I still had to adjust the anatomy and proportions because several errors were only visible when the image was whole.

Since I already have a base body finished, creating the clothes easier. I use masking to highlight the desired areas of the body and apply extrusion. This way I get the clothes while maintaining the overall shape of the figure.

Hair has always been a difficulty for me. However, I came upon a video by YanSculpts (2020) in which he demonstrated how to quickly create hair with curves in Blender. I sculpted a prototype of the hair in ZBrush, adding the desired volume. Then I exported this mesh to Blender and began work on the final version, as demonstrated in the tutorial.

I can start the detailing process once the model's components are set. At this point, I am folding the fabric, adding various accessories, and giving it texture. To help myself I used the Orb-brushes Pack (Michael Vicente, 2016) and the Stylized Planar Folds (Jan Wyss, 2021).

I tessimated my model to optimise production and prepare the sculpture for retopology. This prevents an excessive number of polygons. Afterwards, I plan the topology of the body by creating simple loops that serve as a basis for the geometry. I always use Anton Aleknavitsjus's (2022) video content of his workflow as a guide to help me.

I made topology denser in some parts of the model because I intend to produce an animation in the future and will need to handle rigging in deformation points as well as hair physics. There is no reliable information on how many vertices should be present in a modern game-ready model. However, in the forum (UnrealEngine forum, 2021), people report that the standard number of vertices ranges between 20k and 30k. So, I decided on this.

I begin the model unwrapping process by focusing on key parts that require a high level of detail. I also attempt to hide the placement of the seams by hiding them in areas that are difficult to reach. And, to make the best use of the available space, I mirror most of the components to keep the model's symmetry. However, in the end I decided to separate the hair into a separate UV map because it took up most of the space. 

Initially, I combined all the components of the model – both the high-poly and low-poly versions – into a single object. To ensure that everything is baked properly, I then check if they are both in the centre of the coordinate axis and add name suffixes (_high and _low). If I encounter errors, I try to experiment with different settings. But if it does not work, I manually correct the textures.

Being a stylized model, I made the decision to stay away from overly intricate texturing. I used primary colours to fill the model parts, made a slight gradient, and added shadows to highlight the volume using the 'Ambient Occlusion Mask' generator.

At this stage, I decided to render all my work in Unreal Engine 5. I placed the main light sources, added effects, as well as additional accessories to the scene. I made several renderings from different angles, as well as with a transparent background, so that I could later insert the render of the model into another picture.

I also wanted to present the work so that all the pieces looked harmonious and had a single style. To achieve this effect, I designed a special template for all the images: I picked a colour scheme, drew a frame, and selected fonts.

Overall, I am happy with the model's quality, however there are a few minor flaws. I believe I achieved my goal, and my model, which was developed in accordance with industry standards, can be used in a range of future projects. I intend to complete this model, address errors, and add extra features.

In addition, I believe that this project was beneficial to me because I noticed an improvement in my skills after documenting the entire process. I not only reinforced the skills I already had, but I also learnt new ones that made my development process much more effective.

Software: ZBrush, Autodesk Maya, Adobe 3D Substance Painter, Photoshop, Unreal Engine 5.

Portfolio: https://www.artstation.com/alweksnada