3D Character Concept – Alchemist Astin

This concept is by concept artist Hans Chen, and it caught my attention immediately when I saw it. The vibrant colors and tones captivated me, but it was his dazzling accessories that truly sparked my interest. I immediately began to analyze what I could do with this character. It would be fascinating to bring each element of the character to life!

I imagined the bottles on his back bouncing as he ventured, his shirt moving with each step, and the shoelaces swaying back and forth. Even the detail of his hair couldn’t go unnoticed; I felt that adding movement to this seemingly static aspect would give it greater relevance, adding an interesting realism to his entire design.

The setting led me to envision a futuristic steampunk world, somewhat similar to the aesthetic of the movie Mortal Engines. In terms of style, I drew inspiration from a combination of references such as Spiderverse, Arcane, and the recent animated film Teenage Mutant Ninja Turtles: Mutant Mayhem.

When developing the character’s personality, I envisioned him as someone with multiple facets—a scientist who experiments not only with his creations but also with his own body. This character carries strange creatures with him, like plants with eyes and organs preserved in jars, along with his experimental liquid. To reach that point, I imagined that his mind must be somewhat unbalanced, which is reflected in the renders and appearance of the character, showcasing different facets or personalities.

Starting with Character Creator (CC)

This was the first time I used the CC Toon Base, as I had previously worked mainly with realistic meshes. Upon using it, I discovered that it offered a significant advantage: the stylized features were more defined, which provided a great starting point for further defining the details and adjusting them to the needs of my project, becoming a valuable resource for character development.

I spent two or three days getting used to using these Expression Morph Sliders in Character Creator. Experimenting and pushing everything to the limit, trying different configurations to see which ones were useful and which ones were not.

GoZ and SubTools

Using GoZ has been an important tool for me, as it allows me to export and re-import the model in record time, making my workflow much more efficient. By maintaining the subdivision levels in ZBrush and preserving the rigging in Character Creator, I can work seamlessly between both platforms.

The process involves selecting the base mesh in CC4 and exporting it to ZBrush via GoZ. In ZBrush, I start detailing, adjusting, and moving the mesh to refine it. Then, I send it back to CC4 to check that everything is in order and that the visualization is correct. If necessary, I can re-send it to ZBrush to continue updating the model and adding accessories, clothing, weapons, or any other details the character requires.

The best part is that when I return to CC4 using GoZ, the accessories are already anchored to the character, allowing me to adjust the weights for each one and ensure they work correctly during movement tests.

Cloth Making

I use ZBrush for cloth making, although Blender is also a good option; it all depends on the artist and which tool they feel most comfortable with. I prefer ZBrush because it provides me with versatility throughout the process. From the initial sculpting to polishing objects, creating shapes with ZRemesher, extrusion, subdivision, and adding finer details. Additionally, the variety of brushes in ZBrush allows me to add details like wrinkles and other textures, making it my preferred choice for this program

Here are some tips to make your character’s personality stand out. I have a procedure when making the cloth. First, I mask the part I need to develop from the base model, for example, the shirt. By extracting it, I obtain a general shape that helps me refine and save time on its base. I can rely on basic geometric shapes, like cylinders or squares, to start modeling the structure. Then, I simply extrude and control the edges and holes.

Additionally, I use the Dynamic option when I have these shapes made with low geometry and have control over the edges. This allows me to visualize my polished model without the need for millions of polygons. Once I feel the shape is appropriate, I apply DynaMesh, giving me subdivisions to start detailing. This way, I can achieve very polished shapes, and it can also be used for hard surface modeling.

Accessories

I like to develop the accessories completely unless the project has specific time constraints or other requirements. I always prefer to create them from scratch because it allows me to continuously improve my skills through practice and development. I started by developing a general blocking of this accessory:

• Blanket: For the top part, I took a plane and adjusted it vertically, using the Dynamic option (run the simulation) so that it would collide with the sphere. From there, I began to extrude and add details.
  
• Side Grids: I used symmetry to ensure that both sections were identical. I relied on Boolean operations to create the perfect holes. I developed each layer with a cylinder, scaling some faces to achieve a conical shape, and then arranged it according to the blocking.
• Bottles: I started with basic shapes like cylinders and spheres, using a low subdivision. After that, I merged the shapes and polished the details.
  
• Ropes: I developed them using cylinders and the ZModeler for the coiled shapes. I generated the UVs and created the pattern using Noise Surface.
  
• Sphere and Liquid: I used two spheres, one on top of the other, with different scales to simulate the liquid.
  
• Pipes: I used the Curve Tube brush, adjusting the width and radius of the brush. I began to define the path and then made adjustments to ensure it looked as I wanted, moving it as necessary.

Animation Preparation in Blender

Once I had the entire model, I used the Blender Addon in CC4 to export it in Pose T.

Then in Blender, I applied the CC Pipeline to import the model. At this point, I have the complete model and the main bones. I place the skeleton in edit mode, and with the accessories correctly positioned, I start adding the necessary bones for each action, logically considering which parts require movement. I assign bones to the bottles, hair, ropes, and the long part of the shirt. Afterward, I export the model again as FBX using the CC Pipeline.

Next, I return to a new project in CC4 and import the model using the Blender Pipeline in Pose T. With the Characterization option, I pair the bones so that CC4 recognizes the skeleton and the new bones. Then, I begin to determine if they will be Spring Bones, assign weights, and ensure they are visible. (Tip: To reintegrate the character into CC4 and ensure the skeleton works correctly, it is essential to always keep it in Pose T.) Otherwise, when importing it in Pose A, the Characterization part will not be recognized.

Tip: Always in Pose T!

Character Animation in iClone

To make a believable character animation, a few techniques were deployed in iClone. I already had some supporting animations in CC4, where I had to adjust certain positions due to the overlapping of some parts of the model. When I sent it to iClone, I was able to blend the different animations to create fluid movements and smooth transitions, allowing me to create a more believable and high-quality presentation.

In this project, iClone made it easy for me to mix animations in record time, which I highly recommend. Another interesting feature is the MD (Motion Director) or to me as Manual Device Control, which allows you to guide the direction of movement using the mouse or a game controller, making it easier to move the character and achieve the desired path. I find this to be an important aspect of the software.

Blender Pipeline: Final Composition and Eevee Render

It is essential to have everything well-named and organized. This applies to all aspects of the work, as failing to do so will result in having many items in the scene, making it a nightmare to figure out which is which.

I created a folder for each pose, in which I included all the personalized material specifically for that pose: cameras, angles, and lighting. This way, I maintained order and made it easier to exchange and adjust according to the new ideas that came to mind, all in the same file with different poses.

I used Grease Pencil to generate outlines and toon-style details, as my textures were geared towards a hand-painted style. This resulted in a good combination that enhanced the model.

• Lighting: I started with some basic lights to achieve a well-lit and presentable appearance for the character. From there, I experimented and modified the lights according to the tone I wanted to give. I used reference photos to replicate the lighting and make adjustments. I primarily worked with Area Lights and HDRI.
• Final Edit: I exported my renders as PNGs and performed the final composition by adding backgrounds and textures in Photoshop and applying effects that enhance the pose image. I adjusted the contrast and brightness to add more richness to the render.

My Experience with Blender AutoSetup

The experience of using Blender AutoSetup was satisfactory, as it is very easy and intuitive to use. Additionally, it considerably reduces the processes since it keeps the rigging of my character enabled when returning it to CC4. It helped me a lot that I already had Ambient Occlusion (AO) and other features activated, which I had to enable manually in previous versions. Additionally, ray tracing in Eevee helped enhance the images.

Closing Thoughts

It was the beginning of everything because once I adjusted the first mesh, I had a clear path toward where I wanted to take my model. In a way, I already had a visual style very close to the final one, with many stylized features that allowed me to guide the other pieces toward that style. Regarding material management, I could decide whether I wanted a stylized PBR style that CC4 showed me and compare it in Blender with my hand-painted textures.

When selecting your character, it’s important to analyze which additional elements, such as accessories, can enhance its functionality, making it stand out even more.

Time is a fundamental factor. We must not take for granted that we have a long deadline, as difficulties may arise along the way. As the deadline approaches, we may find ourselves under pressure because we weren’t prudent with our time, and we may not be able to apply the desired quality or even finish the project. Therefore, time management is very important.

It is a great help to advance faster in your projects in every way. Moreover, it adds value since we often leave the model static. With all the tools CC4 offers, we can enhance our art in record time without sacrificing quality. This allows us to bring movement to the model and easily export it to different platforms.

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