Crafting a Y2K-Inspired Character with Detailed Textures Using High-Poly Modeling

Introduction

Hi, my name is Vlad, and I’ve been working as a Character Artist for over four years. Most of my experience comes from creating characters for mobile games, specializing in PBR and hand-painted textures.

About the Windows Error Project

For this project, I wanted to explore a render-oriented pipeline, focusing on high-poly modeling with detailed textures instead of the traditional low-poly workflow. Here’s a step-by-step breakdown of my process, insights, and lessons learned.

The concept art I chose is by Yao Ke. I found it interesting and thought that its theme could be well-developed. In the beginning, I broke down the project to plan the pipeline. Usually, I start by analyzing proportions and identifying key design elements. Before diving into modeling, I analyzed the concept to identify key elements:

• Silhouette and proportions: The contrast between the tight-fitting upper body and exaggerated wide-leg pants references early 2000s fashion.
• Color balance: The blue-to-white gradient on the legs creates visual lightness, preventing them from feeling too heavy in the composition.
• Tension points: Despite the smooth curves, sharp angles in the upper silhouette add dynamism, giving the design an edgy feel.

The design also features many sharp lines in the upper silhouette. Despite the overall smoothness, there are points of tension in every curve.

Sculpting

I started by blocking out the body proportions using a basic sphere mesh and then applied topology with ZWrap. This approach ensures that even at the early stages, the model is clean and production-ready. Some elements are created with clean topology right away, while more complex details are done using DynaMesh.

I work in A-pose until I finish the main elements since symmetry simplifies the process. Elements like hair and folds are barely touched at this stage, as they will need to be redone after posing the character.

At this stage, all elements already have Dynamic Subdiv applied.

Once all the elements are in place, I start posing the character. The process is fairly linear: I begin by positioning the pelvis and rib cage, then move on to the legs and arms. The key is not to be afraid to “break” everything to get the desired result. After finalizing the pose, I refine the elements and add folds and details.

For hard-surface elements like the accessories and props, I used ZModeler in ZBrush. To ensure a perfect subdivision flow, I utilized GN Import-Export, an excellent bridge between Maya and ZBrush that preserves UVs and creases.

UV-friendly pipeline: Merging subtools is crucial in ZBrush when preparing UV sets for baking. Without this step, creating clean Normal Maps can be tricky.

Rendering and Scene Setup

I start setting up the scene without textures, using polypaint with configured metallic and roughness values. First, I position the Top Light and Key Light. These lights emphasize the model’s shapes and create the base lighting for the scene.

Once the main lighting is done, I enable Sky Light. Marmoset has a wide variety of HDRI maps, but I prefer more neutral ones. HDRI helps fill the scene with soft light, and to achieve a perfectly white background, I use the Ambient Sky mode.

Camera

The camera settings include an important option: Tone Mapping. I use ACES because this mode minimizes overexposure and makes the lighting look more natural.

Texturing

For texturing, I prefer Substance 3D Painter. I mainly used generators for this project and kept the painting simple without adding dirt or wear, as it didn’t fit the character’s theme. After creating base fills and gradients, I added noise and patterns. Most patterns were applied only to roughness, with a few exceptions.

Thanks to this nuanced approach, the textures don’t overwhelm the character, and the final result stays true to the original concept.

To make the hair shiny, I added a Normal Map with Directional Blur and applied the same technique to roughness. For opacity, I added variations along the edges of the hair to smooth out transitions from the top of the head.

It’s crucial to constantly test maps in the render, as opacity looks very different in Substance 3D Painter compared to the final result.

Animation and Shaders

Before modeling the Tamagotchi, I researched its versions and chose the 1996 model, as the concept seemed to reference this version.

To create the animation, I used a frame atlas animated via UV coordinates. I couldn’t find another way to load a video into Marmoset.

For the blue screen animation, I used a simple V-coordinate offset, which was even easier to set up.

The sculpting process was generally quick, but I spent some extra time on the posing.

Conclusion

The entire project, including video editing and animation, took about two months of evenings and weekends.

I believe it’s important to take on projects that match your current abilities. I try to choose tasks that don’t turn into “icebergs” – ones that seem simple but end up consuming an enormous amount of time.

Before starting, I always analyze and break down the workflow. Even during the blockout phase, I knew I’d create a video presentation and animate the Tamagotchi, although I wasn’t yet sure how.

I think that while you’re learning, every project should either teach you something new or help reinforce your existing knowledge in a particular area.

Vlad Chok, 3D Artist

Interview conducted by Gloria Levine