Creating a Robot in Realistic Style Using ZBrush & Marvelous Designer

Introduction

My name is Alex. I spent most of my career working in graphic design and advertising. My journey as a 3D Artist began when I watched the cinematics of Death Stranding in 2018. I was so impressed that when the pandemic hit, I quit my job and moved to my country house. There, working alone for 12 hours a day, I managed to get a job as a 3D Character Artist after two years.

My dream, guiding me as a 3D Artist, is to create video games based on my own stories.

Inspiration & References

I worked based on a concept by Alejandro Escudero, who was kind enough to let me use it. I stumbled upon this concept by chance. At first, I was drawn by the overall mood of the artwork – it sparked my interest and sympathy. Since I live in Latin America, the Mexican vibe felt very close to me.

After analyzing the details, I thought it would be fun to work with hard-surface elements combined with softer materials like a poncho, ropes, and a sombrero. I wanted to achieve realistic, highly detailed textures. I also noticed that modeling the main shapes was relatively simple, and I would be able to create the high-poly quickly. It took me about a month to complete the model.

Since I wanted to create a robot in a realistic style, I gathered references for rusty metal, worn fabric, and other small details. I collected examples of hinges to understand their structure, which made modeling easier.

Modeling

My approach to modeling was to switch entirely to ZBrush without using base programs like Maya or Blender. I did all the modeling with the ZModeler brush. This transition wasn't easy, as my habit of using Maya interfered with learning a new pipeline based entirely on ZBrush. However, once I got used to it, I was able to work much faster, avoiding the need to switch between programs.

I was inspired to make this transition by the streams of Marco Plouffe, the founder of Keos Masons, who models at an impressive speed in ZBrush.

Usually, I start modeling by rough sculpting, and once I've achieved the basic shape, I retopologize it in ZBrush with a low polygon count. Then, I create polygroups, add creases, and get a clean shape that's easy to modify using dynamic subdivisions.

If the shape is simple enough, I use basic geometric figures from the Initialize Tab Tool and modify them with ZModeler. For more complex shapes, I apply booleans, which automatically create polygroups, and then use Polish to create bevels. This approach makes modeling faster and easier.

Character's Outfit

For the base of the poncho, I used Marvelous Designer. To simplify working with the fabric, I separated the collar area from the rest of the poncho. There are almost no seams in the poncho's pattern, but I needed a clean topology to apply high poly fabric textures. So, I used the standard method of retopologizing the cloth from Marvelous by transferring attributes using the same UVs.

With clean topology and UVs unfolded in Marvelous, I was able to apply the fabric textures, which included three layers.

• On the first mesh, I applied a worn fabric texture using the Noise 07 alpha;
• On the second mesh, I used MicroPoly (Cloth 02) to create the base fabric.
• The third mesh I used to create individual threads with MicroPoly (Knot Twist).

Then, I filled each mesh with different colors using polypaint to create a Color ID map. Separately, I created a torn edge for the poncho, also using MicroPoly, and baked the opacity map.

Additionally, I created the torn edges of the poncho using MicroPoly and baked an opacity map for it. By using the three meshes, along with an extra mesh for the torn edge, I crafted a detailed high poly model for baking and subsequent texturing.

I applied the same approach for the sombrero, using MicroPoly to manually edit the generated meshes, creating a unique straw pattern.

Retopology & Texturing

Retopology remains a challenge for me. I did it in Maya, and my best advice is to arm yourself with good audiobooks and music. I also take regular breaks for eye exercises and a quick physical workout.

Texturing is one of my favorite stages of the pipeline. I find it creative and engaging. However, it's important to remember that in order to have a smooth texturing process, you need to plan for it during the high poly, retopology, and baking stages.

My approach to texturing hard-surface materials revolves around layering. For painted metal, I created multiple layers: the base layer was relatively clean metal, then came rust, followed by a layer of paint, and finally, another coat of paint applied later in the robot's life.

Each layer has its unique Height, Roughness, Color, and other parameters, and it's crucial not to miss any channel, adding variety everywhere. This results in rich, realistic textures.

Understanding channels, layers, and masks is key in Substance 3D Painter. Initially, it can be confusing, but once you grasp it, the process becomes incredibly enjoyable due to the wide range of possibilities the software offers.

Don't be lazy to add appropriate details even in places that might not be highly visible – people love to examine intricate details and discover the thoughtfulness behind an artist's work.

Lighting

For lighting, I use Unreal Engine 5, which, when set up correctly with lighting, camera, materials, and textures, delivers stunning results.

To save time, I recommend using the MetaHuman Lighting plugin, which creates a project with maximum quality settings in Unreal Engine and offers several maps with different lighting setups that can be edited to suit your needs.

Conclusion

This project took me about a month, working 5 hours a day. The most time-consuming part was the retopology, especially working with fabric. What I enjoy most is the high poly stage, where the detailing brings the character to life. It's also the same for texturing. I get excited when I can add a unique detail that makes the viewer say, "Wow."

When I look at a concept I plan to model, I ask myself questions: Why am I drawn to this? What exactly captured my attention? How can I translate that into my work? Can I enhance it? How can I avoid making it worse?

I pay very close attention to proportions, as I know this is one of my weak points. I overlay the concept onto my model and check everything multiple times, training my eye and avoiding mistakes caused by lack of attention.

For those just starting out in 3D, I wish you courage and patience. You have an exciting journey ahead of you, possibly a lifelong one. Looking back, I can confidently say that I have no regrets about changing careers and becoming a 3D Artist, even at a more mature age. My life has changed dramatically, and I have also grown, both as a 3D Artist and as a person.

Good luck!

Alex Savelev, 3D Character Artist