ANATOMY AND CHARACTER SCULPTURE

20.04.2026 - 31.07.2026（Week 01 - Week 14)

Lee Xiang Ling / 0384095
Anatomy and Character Sculpture / Bachelor of Design (Honours) in Creative Media
Project 01 / Stylized Character Blockout

Project 02 / Character Detailing and Texturing

Final Project / Polishing and Dymanic Posture with props

LIST / JUMPLINK

ANATOMY AND CHARACTER SCULPTURE_EXERCISE

LIST OF CONTENT

INSTRUCTIONS

PROJECT 01

In this project, we are required to apply our character design knowledge to create a stylized character model using ZBrush, while demonstrating our understanding and study of human anatomy. The character can be a human, any form of bipedal creature, a hybrid creature, or a quadruped.

WORLD & CHARACTER SETTING

First, we needed to establish the world setting and character concept, followed by creating a moodboard as a visual reference for the later design process. I chose to base my project on the world of the Chinese sci-fi romance game Love and Deepspace. The game combines futuristic technology, combat, and dangerous creatures known as Wanderers, making it a suitable setting for developing a character with combat and survival elements.

Fig. 1.1 - Moodboard of World Setting_JPEG (13/5/2026)

Based on the original world setting, I further developed my own story background and placed it in the border zone of a futuristic city in 2123. This area exists between officially controlled districts and the underground black market, where security is unstable and Wanderers frequently appear. Hunters, informants, injured civilians, and people involved in illegal activities often gather here, making it a dangerous grey area filled with different people and stories.

Fig. 1.2 - Wanderers_JPEG (13/5/2026)

This environment also helped shape the direction of my character design. I wanted the character to be capable of operating independently in dangerous areas while possessing skills related to medical treatment, combat, and survival. Therefore, these elements became the main foundation for developing the character’s identity, clothing, equipment, and overall visual style.

Therefore, I looked for clothing references related to both combat and medical personnel. The overall direction combines tactical clothing, medical uniforms, and futuristic elements, including fitted clothing for easier movement, belts and straps, long coats, and medical-related accessories. I also explored black-and-white colour combinations and asymmetrical clothing designs to give the character both the professional appearance of a medic and the practical feeling of someone who frequently operates in dangerous areas.

Fig. 1.3 - Character's Moodboard_JPEG (13/5/2026)

For the colour palette, I mainly focused on black, white, and cool tones. Black gives the character a stronger combat and mysterious feeling, while the white long coat creates a visual connection to doctors and medical personnel. By combining these elements, I wanted to create a character whose identity sits between a Hunter and a Medic.

CHARCATER DESIGN

Based on the previous moodboard, I began developing the final character design. I started by drawing sketches based on references.

Fig. 1.4 - Character's Moodboard_JPEG (22/5/2026)

I kept elements such as the long coat, hood, belts, straps, and combat boots, while using a fitted inner outfit and shorts to allow more freedom of movement. The long coat helps create a medical-inspired appearance, while the asymmetrical hem, leg straps, and equipment pouches add a stronger tactical and survival feeling. She also carries a firearm and personal equipment, allowing her to operate independently in dangerous areas.

Fig. 1.5 - Multi-view of the character_JPEG (5/6/2026)

For her appearance, I chose long hair and calm facial features to reflect a composed, independent, and slightly distant personality. I also created both hooded and unhooded versions, together with front, side, and back views, which later served as clearer references for the ZBrush modelling process.

Fig. 1.6 - Character Design_JPEG (10/6/2026)

ZBRUSH LEARNING & BLOCK OUT

At the same time, we started learning character modelling in ZBrush. We first used ZSphere to build a basic human body structure, helping us understand body proportions, skeletal connections, and joint placement. This provided a foundation for the later sculpting process.

Fig. 1.7 - Zsphere in Zbrush_JPEG (8/5/2026)

After confirming the character’s pose and body proportions, we started using different SubTools to build the basic body structure, including the head, torso, arms, pelvis, and legs. This made it easier to adjust each body part separately and prepare the model for further muscle and detail sculpting.

Fig. 1.8 - Basic body structure_JPEG (16/5/2026)

Next, we continued sculpting the muscles and overall body form. Due to an operation mistake, the hands became slightly distorted and needed further adjustment. Lecturer also suggested paying more attention to the muscle structure and volume of the chest and thighs, while keeping the Achilles tendon from becoming too thin so that the anatomy looks more natural.

Fig. 1.9 - Body Anatomy Sculpting_JPEG (4/6/2026)

Based on my lecturer’s feedback, I adjusted the hands, chest, thighs, and Achilles tendon, while further refining the body proportions and muscle forms. After these corrections, the overall anatomy became more natural and provided a stronger base for the later clothing and detail modelling.

Fig. 1.10 - Final Blockout_JPEG (13/6/2026)

FINAL OUTCOME_PDF

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PROJECT 02

In this project, we were required to further develop the character model from Project 1 by adding more details and textures to strengthen the character’s personality and visual storytelling.

CHARACTER DESIGN

First, I coloured my previous character design. The main colour palette consists of black, white, and muted green. The white long coat keeps the medical identity of the character, while the black tactical equipment strengthens her role as a Hunter. Adding colour also gave me a clearer reference for the later ZBrush modelling and material development.

Fig. 2.1 - Character Design with color_JPEG (28/6/2026)

3D BLOCKOUT

First, I started sculpting the character’s hair. This stage was quite challenging because long hair requires attention to the overall volume, hair layers, and natural flow.

I was also still unfamiliar with some ZBrush sculpting tools, so adjusting the shape and connection of the hair strands took more time. After several adjustments, I gradually completed the basic form and layering of the hair.

Fig. 2.2 - Hair_JPEG (26/6/2026)

Next, lecturer taught us how to use Polypaint, and I continued refining the character’s face. After the first colouring attempt, I noticed that the face still looked slightly unnatural, especially the eye shape and overall proportions.

Fig. 2.3 - Face before adjusting_JPEG (30/6/2026)

Lecturer suggested adjusting the facial features further and paying more attention to the eye area, cheekbones, mouth, and facial muscle structure. I then refined the face based on this feedback to achieve a more natural result.

Fig. 2.4 - Face after adjusting_JPEG (10/7/2026)

Fig. 2.5 - Final Face Blockout_JPEG (14/7/2026)

However, due to an operation mistake and because I had previously cleared the Undo History to reduce the file size, the hair developed problems during the topology process and I could no longer return to the previous version. As a result, I had to recreate the hair. This experience taught me to save backup versions before retopology or clearing the history to avoid losing important progress. QwQ

Fig. 2.6 - Hair after redoing_JPEG (16/7/2026)

After redoing the hair, I started with the character’s base clothing. I adjusted the clothing according to the body shape so that it followed the anatomy while maintaining some thickness and form. After completing the basic shapes, I also added simple colours and materials as a foundation for the coat, belts, and other equipment.

Fig. 2.7 - Base Clothing_JPEG (16/7/2026)

Next, I started modelling the character’s combat boots. I first created the basic shape, then added details such as the sole, straps, and laces while adjusting the form from different angles. I also added tread details to the sole to make the boots more suitable for a character who frequently operates in dangerous environments.

Fig. 2.8 - Shoes_JPEG (18/7/2026)

After completing the basic shape, I continued refining the boots and added metal accessories to make the overall design more complete.

Fig. 2.9 - Final shoes blockout_JPEG (18/7/2026)

Next, I created the character’s straps and harness system, including the upper-body straps, crossed waist belts, and thigh straps. These elements add more layers to the outfit and strengthen the tactical appearance of the character, while also supporting her role as someone who carries equipment during missions.

Fig. 2.10 - Straps and Harness system_JPEG (20/7/2026)

Fig. 2.11 - Straps and Harness system with metal accessories_JPEG (20/7/2026)

Next, I started modelling the character’s tactical gloves.

This part was challenging because the spaces between the fingers were difficult to manage, especially when separating the fingers and preventing the geometry from merging together. I spent more time refining the finger shapes and later added metal guards and wrist details to make the gloves look more complete.

Fig. 2.12 - Gloves_JPEG (20/7/2026)

I started creating the character’s tactical accessories, including pouches, holsters, storage bags, and metal buckles.

Fig. 2.13 - 3D Blockout with accessories_JPEG (25/7/2026)

Finally, I started modelling the character’s cloak. This part required attention to the fabric flow, hem length, and the connection between different sections. I first created the overall shape, then refined the sleeves, hood, and back hem while adding shoulder and strap details to better match the original character design.

Fig. 2.13 - Process of Cloak_JPEG (30/7/2026)

Fig. 2.14 - Final Cloak_JPEG (30/7/2026)

FINAL OUTCOME_PDF

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FINAL PROJECT

Finally, we needed to further clean up and refine the model, while adjusting the character’s pose to better express her personality. We also needed to add suitable props and a display platform to complete the final presentation.

PROPS

My character’s main weapon is a futuristic pistol, supported by combat knives as secondary weapons. The pistol features a strong mechanical structure and cool-toned details to match the overall sci-fi setting, while the combat knives are mainly used for close-range combat or emergency situations.

Fig. 3.1 - Props_JPEG (31/7/2026)

POSTURE

Finally, I combined the character’s clothing, accessories, and weapons, while further refining the details and pose. The character holds her main weapon while keeping the other hand in a more relaxed position, creating a calm, alert, and ready-for-action appearance. I then placed the character on a display platform to complete the final model.

Fig. 3.2 - Final 3D Blockout_JPEG (3/8/2026)

After completing the overall model, I continued making some detail adjustments, including the clothing edges, strap positions, accessory sizes, and some proportions. These refinements helped make the different elements more balanced and the final model more complete.

POSTER

After adjusting the lighting, I completed the final render of the character model and made some minor refinements in Photoshop. Finally, I combined the rendered model with the original character design to create a poster, showing the development of the character from concept art to the final 3D model.

Fig. 3.3 - Poster_JPEG (4/8/2026)

FINAL OUTCOME_PDF

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REFLECTION

Through this project, I realised that I often become too focused on one problem and keep adjusting the same area repeatedly, which can take up a lot of time. For example, when working on the hair, face, and clothing, I sometimes kept reworking small details because I was not satisfied with them. Some mistakes also created extra work during the process.

However, these experiences taught me to step back, look at references, listen to my lecturer’s feedback, and try different solutions instead of getting stuck on one problem. I also developed a better understanding of ZBrush, anatomy, clothing, and accessory modelling. Although there are still many areas I can improve, I can clearly see my progress from the first body blockout to the completed character, and I now have a better idea of what I need to improve in future projects.

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XiangLingLee (0384095)

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