Turning Diablo Inspiration into Detailed Red Sorceress Model

Introduction

Arezou Hajian: Hi, I'm Arezou, a 33-year-old artist who's been diving into this field for the past 3-4 years. Recently, I've started exploring ZBrush to take my skills to the next level. I've been dedicated to refining my artistic vision and technique during this time, and I’m always eager to learn and grow with each new project. 

Hafez Yadollahi: Hi again! My name is Hafez, I'm from Iran, and I became interested in animation when I was 19, four years ago. Initially, I started working with Maya. After some time, I wanted to visualize my favorite character and add it to my animation. That's how I started using ZBrush and saw what a beautiful world it is. It allowed me to draw anything I could think of and bring it to life. After a while, I was able to improve my skills in character sculpting.

I worked on projects at Netflix, Keos Masons, Frag Pulse, Madrain, and some other companies.

The Red Sorceress Project

AH: Since I was a child, I've been a huge fan of games like Diablo and Warcraft. The fantasy genre, especially Blizzard's early Diablo and Warcraft games, has always fascinated me. This passion has driven me to chase my childhood dream. As a dedicated fan of Diablo 4, I really enjoy diving into its world and characters. Being such a big fan, I decided to model one of the Diablo characters because it's always been a dream of mine to be part of this incredible universe. 

Face & Head

AH: I believe that the face, especially the eyes and their makeup, can really captivate viewers and draw them in. I began with a base mesh and refined it during sculpting in ZBrush. My aim was to capture the essence of an Eastern sorcerer, focusing on both the sculpting and texturing stages. For the texturing, since the character has a golden mask, I decided to use red and black makeup around the eyes to amplify their allure and mystique. By adding tattoos, which were inspired by references from the Diablo game, I strengthened the sorcerer's identity and aimed to create a stronger connection with the game's characters.

Body & Outfit

AH: Once I got the base model from Hafez, I brought it into ZBrush and started refining and detailing it. Before diving in, I collected a bunch of references from old fantasy and realistic costumes, paying special attention to traditional outfits from gypsies, wanderers, shamans, and some tribal designs to guide my work. I spent a lot of time on this part because, in my opinion, having good and accurate references is one of the most crucial aspects of the work.

HY: First, I exported a simple fabric from Marvelous Designer to ZBrush, and I made the mask by hand. It means copying individual flakes. I used nano mesh first, but it didn't give me the result I wanted.

As for the diamond, I used a reference for the bass, but all the designs were made in my own mind. I used a Spiral brush to create those distortions and then put them together and added small details to them.

During the rendering, I reduced the opacity of the diamond so that the light I put inside it shone from you.

I did the retopology with ZRemesher because our character was specific for one shot and was not supposed to be animated. This increased the speed and kept the forms well. Then I sent everything to Maya to do the UVs.

I think Substance 3D Painter could be the best option for baking in this project; it was done with a few simple clicks.

Texturing

AH: During the texturing phase of the base's face, I began with XYZ textures and then built up additional layers to add personality. I included freckles, blemishes, and some makeup around the eyes and wrapped it up with tattoos to complete the look.

For cloth texturing, I also spent a lot of time gathering references and blending real photos and artworks from similar styles to guide me. I focus closely on different materials like leather, metal surfaces, and fabric, aiming to capture realistic details. For coloring, I usually start with a dark base and gradually build up lighter tones.

I pay close attention to details like color variations and wear on the fabric or leather corrosion. After finishing the base colors, I focus on adding imperfections and other elements that enhance realism. Over the years, I’ve developed a big library of smart materials. I customize these materials to create more realistic effects and enhance the overall look.

For instance, in the fabric and leather sections, spending a lot of time on the high-poly model in ZBrush gave me more flexibility in Substance 3D Painter. With the help of ambient occlusion and curvature data from the baked model, I could better manage the addition of colors, color variations, and details like wear and tear, as well as the fabric and
leather’s depressions and protrusions.

Rendering & Lighting

HY: I used Marmoset Toolbag for rendering because it was suitable for this project, and everything could reach its final state very quickly. I used the usual lights for this (main light, fill light, and backlight) and by adding some fog, I was able to achieve what I wanted. Also, adding the ground could make it more interesting, I didn't want this woman to be in the air, and so it became more believable.

And then, I took the final renders to Photoshop and improved the color and sharpness.

Conclusion

AH: My main challenge was to ensure the character truly felt like it belonged to the Diablo universe and was believable. I worked hard to make the fabric textures look authentically weathered and to ensure they harmonized well with the accessories. During the texturing phase, I focused on achieving a pleasing color balance between the accessories, fabrics, and clothing while making sure everything looked visually appealing. I aimed to convey that the fabric was once valuable, like silk and has aged over time, giving it a weathered look without appearing worn out or unrealistic.

I'm currently working on another Diablo character that I can't wait to share with you in the next few weeks. It's a mix of Diablo's iconic characters with my own unique designs, and I’m really excited for you to see it soon.

To become a successful character artist, passion and dedication are essential. For sculpting, I recommend studying the work of great masters, both in traditional and digital art, and using their techniques as inspiration. As you progress, try to infuse your own designs and ideas to keep growing and developing your skills. A solid understanding of anatomy and how different materials interact with the body is crucial.

And remember: hard work and perseverance are key – don't get discouraged. Patience and persistence are vital traits for any character artist.

Hafez Yadollahi, 3D Character Artist

Arezou Hajian, 3D Character Artist

Interview conducted by Gloria Levine