I’m Gencay Adıgüzel, a 3D character artist specializing in stylized character design for game and film projects. My passion for computer graphics dates back 15 years, and throughout this journey, I’ve focused on merging art, technology, and storytelling in character design.
I started my academic journey by studying sculpture, which gave me a strong foundation in form, volume, and anatomy. Later, I shifted to Graphic Design, where I refined my digital art and visual storytelling skills. Combining these two disciplines, I specialized in 3D modeling and gradually developed my own artistic approach to stylized character creation.
In this blog post, I will detail how I modeled Harek from Call of Antia, focusing on the software I used ZBrush, Blender, Substance Painter, and Marmoset Toolbag and how I tackled various challenges throughout the process. I hope this breakdown proves useful and inspiring for those interested in 3D character art!
Starting Point: Reference Gathering & Planning
Every successful 3D modeling process begins with solid research and planning. This phase defines the artistic direction and technical requirements, making the workflow more efficient.
Before starting Harek’s model, I gathered concept illustrations, stylization examples, anatomical references, and material textures using PureRef. These references guided me in defining key details such as costume design, accessories, hair structure, and color palette.
To build a stronger foundation, I also analyzed 3D anatomical models on Sketchfab and explored work from different artists on ArtStation, Behance, and Pinterest. Collecting references from both real-world and stylized works ensured that the character remained balanced in both artistic and technical aspects.
Three key factors guided me during this phase:
- Stylization Consistency: I made sure the model stayed true to the concept design.
- Anatomical Accuracy: Despite being a fantasy character, I aimed for believable proportions.
- Technical Compatibility: I planned the model to function smoothly in game engines and animation pipelines.
This preparation phase helped minimize errors in later stages and ensured the model was built on a solid foundation.
Blockout: Establishing Form & Proportions
The blockout phase was one of the most crucial steps in shaping the character’s foundation and stylization. Achieving the right proportions early on ensured that the model was structurally sound.
I started by blocking out the silhouette and primary forms in ZBrush using simple geometries. By frequently comparing the model to the concept illustration, I ensured that body proportions were accurate. To maintain balance, I conducted silhouette tests from different angles.
Key details such as hands, facial features, and accessories were established early in this phase to maintain consistency across the entire model. To optimize perspective and camera settings, I used the "matching the reference" technique to align my viewport with the concept illustration.
The blockout phase ensured the model had a readable silhouette, correct proportions, and a stable foundation for the detailing process. At this stage, I carefully planned how the individual components would merge (merge planning) for the next steps.
High-Poly Sculpting & Detailing
Once the blockout was complete, I moved on to high-poly sculpting, which played a critical role in defining the character’s personality and story. My goal was to preserve the stylization while incorporating detailed elements that added realism.
When sculpting the face and muscle structure, I balanced soft and hard forms to ensure smooth anatomical transitions. Special attention was given to areas like the mouth, cheeks, and eye region, refining the surface flow for a more natural look.
For fabric and costume details, I sculpted manually in ZBrush without relying on alphas, ensuring better control over the surface details. The baklava pattern on the skirt was first created in Blender before being refined in ZBrush.
For feather details, I created a custom IMM brush in ZBrush and manually sculpted each feather to ensure a natural variation. Since the reference had only a single view, I made multiple adjustments to ensure the feathers looked correct from different angles.
Retopology & UV Mapping: Optimization for Game Engines
With the high-poly model finalized, I moved to Blender for retopology, optimizing it for game engines and animation. I combined manual and automatic techniques to ensure a clean edge flow that would deform well during animation.
A well-executed topology is essential for clean baking, so I carefully placed loops in high-deformation areas and kept the polycount balanced. To enhance efficiency, I divided the model into three parts before UV unwrapping, assigning separate materials to each. This helped preserve texture resolution and ensured a controlled baking process in Marmoset Toolbag.
The final model was optimized with 58,541 tris, balancing performance and visual fidelity. During UV mapping, I manually adjusted the UV islands, minimized empty spaces, and maximized texture efficiency.
For better organization and consistency, I followed a structured naming convention:
- model_high.fbx → High-poly version
- model_low.fbx → Low-poly version after retopology
- harek_low.fbx → UV-unwrapped version
This structured approach ensured that the model was optimized for both game engines and high-quality rendering.
Baking (Marmoset Toolbag)
Once retopology was complete, I transferred high-poly details to the low-poly version using Marmoset Toolbag’s baking tools. I generated Normal, AO, Curvature, and Thickness maps to accurately capture surface details.
To achieve better results:
- I adjusted Auto Smooth settings in Blender, ensuring smooth shading while adding hard edges to sharp areas to prevent normal map artifacts.
- I used Ray-Traced Baking for cleaner details and increased the AO sample count to 4000 to reduce noise.
- I tweaked the Paint Offset settings in Marmoset to enhance surface clarity
Texture Painting & Material Creation (Substance Painter)
For the texturing phase, I combined hand-painted and procedural techniques to enhance material depth.
- Edge wear effects emphasized metallic surfaces.
- Skin shading was refined using red AO and curvature maps, adding warmth and depth.
- All textures were exported in 4K resolution and integrated into the Blender scene.
Rigging, Posing & Final Render
To showcase the character dynamically, I created a rigging system in Blender, allowing me to pose Harek realistically. I then optimized lighting and color settings in Marmoset Toolbag and took multiple 4K renders from different angles.
Finally, I prepared the project for ArtStation, ensuring that the entire process—from topology to texturing—was well-documented.
Presentation & ArtStation Upload
Once the model was complete, I curated a comprehensive ArtStation presentation, focusing on both the technical and artistic aspects. Beyond just showing final renders, I documented the full workflow, breaking down the process for other artists.
To make the project more engaging, I included:
- Wireframe and topology breakdowns
- UV layout screenshots
- Baking maps (Normal, AO, Curvature, Thickness)
- Substance Painter texture breakdowns
- Blender viewport screenshots (Rig & Pose workflow)
- Close-up detail renders
I will discuss the presentation part in more detail in another blog post.
www.gencayadiguzel.com
www.artstation.com/gencayadiguzel
www.linkedin.com/in/gencayadiguzel
www.behance.net/gencayadiguzel
