#major project development

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Blog#30. Kalin Popov and AAA Character Art

When I looked into current game character artists, Kalin Popov really stood out as a clear example of what’s expected in today’s AAA industry. As a Principal 3D Character Artist at Creative Assembly, his work shows not just strong artistic skill, but also a solid understanding of full production pipelines and how teams collaborate.

Kalin Popov

Principal 3D Character artist at Creative Assembly Sofia

One of the things that felt most relevant to my own project is how wide his role is. He’s not just focused on modelling or sculpting,  he’s involved in multiple stages like texturing, lighting, and final presentation. That made me rethink my own workflow. I’m using tools like ZBrush, Autodesk Maya, Substance Painter, and Marmoset Toolbag, and instead of treating them as separate steps, I’m starting to see them as part of one continuous process where each decision feeds into the next. His work on large projects like Total War Saga: Troy also highlights how important teamwork is in game development. Characters aren’t created in isolation, they need to fit into a wider world and match a consistent visual style. Even though I’m working on my own, it’s changed how I think about my character. I’m not just building a model, I’m designing something that could realistically exist within a game environment. Another thing that stood out is the balance between quality and optimisation. In AAA production, characters have to meet strict technical limits while still looking visually impressive. That links directly to my own goal of staying within a set triangle budget. It reinforced the idea that game ready art isn’t just about adding detail, it’s about using resources efficiently. Overall, studying Popov’s work has helped me see that being a character artist today is about more than creativity alone. It’s about combining artistic skill with technical awareness. His work reflects the kind of industry standard I’m aiming for, especially when it comes to workflow, optimisation, and presentation.

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Blog#29. Clément Néca’s Gwen – Stylized Character Art in Contemporary Practice

A strong example of contemporary character art is Clément Néca’s recreation of Gwen Stacy, featured in 80 Level’s Best 3D Character Art of 2023. This work reflects the growing influence of stylized pipelines inspired by animated films such as Spider-Man: Across the Spider-Verse, where 2D aesthetics are translated into 3D form.

80 Level Digest: Best 3D Character Art of 2023

Let's celebrate this year and look forward to the next with this collection of the greatest 3D character art breakdowns of 2023.

Néca’s project focuses on recreating Gwen using tools such as ZBrush and real-time rendering workflows, demonstrating a balance between sculptural accuracy and stylized abstraction. The breakdown highlights the full pipeline, including modeling, texturing, and post production adjustments used to achieve a sharp and visually striking result (80 Level, 2023). What makes this work significant is not just the technical execution, but how it successfully captures the graphic, painterly quality of the original 2D design within a 3D environment. This reflects a wider shift in the industry where character artists are moving away from purely photorealistic goals and instead exploring hybrid styles. Rather than focusing on realistic skin detail or physically accurate materials, Néca emphasises clean shapes, controlled shading, and stylised lighting. This approach prioritises readability and artistic expression, which is increasingly important in modern game art and animation pipelines. From a critical perspective, this work demonstrates how stylization is no longer seen as a limitation but as a deliberate artistic choice. The ability to translate a 2D concept into a believable 3D character requires a strong understanding of form, silhouette, and colour design. It also shows how modern tools allow artists to experiment with non photorealistic rendering while still maintaining high production quality. This directly relates to my own practice, as I am also aiming to create a stylized character. Néca’s workflow reinforces the importance of focusing on clear forms and strong visual design rather than overcomplicating details. It also highlights the value of combining sculpting tools with rendering and post processing techniques to achieve a cohesive final look. Overall, Clément Néca’s Gwen represents a significant example of contemporary character art, demonstrating how stylization, technical skill, and artistic direction can come together to produce visually compelling and industry relevant work. Reference: 80 Level (2023) 80 Level Digest: Best 3D Character Art of 2023. Available at: https://80.lv/articles/80-level-digest-best-3d-character-art-of-2023/

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Blog# 28: Antonio Nikolovski and Game Ready Stylised Characters

As part of my research into contemporary character artists, I looked at the work of Antonio Nikolovski, whose stylised characters strongly reflect current industry standards for game ready assets. His work is particularly relevant to my project because it sits at the intersection of stylisation and real time optimisation, which is exactly what I’m aiming to achieve with my own character.

The Rookies - Stylized Characters Collection 2023-2024, by AntonioNikolovski

Collection of models I created during my studies at M3DS Academy.

One of the first things I noticed about his work is how clean and controlled his models are. Even though the characters are stylised, the forms are very clear and well defined. There’s a strong focus on silhouette and readability, which ensures that the character remains visually strong from a distance. This is something I’ve been trying to apply in my own workflow, especially during the blockout stage, where getting the primary shapes right is more important than adding detail. Another key aspect of his work is how well it translates into a game ready format. His characters maintain a high level of visual quality while still being optimised for real time engines. This includes efficient topology, clean UV layouts, and well balanced polygon counts. Seeing this has reinforced the importance of sticking to my own poly budget and making sure my model is not just visually appealing, but also technically sound. Overall, studying Antonio Nikolovski’s work has helped me better understand what makes a stylised character successful in a real-time context. It’s not just about how the model looks, but how well it performs and reads as a complete asset. His work provides a clear example of how to combine artistic style with technical efficiency, which is exactly what I aim to achieve in my own character.

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Blog#27. Mathilde Mano and Contemporary Stylised Character Art

While looking into contemporary character artists, I came across Mathilde Mano, whose work really aligns with the direction I want to take in my own project. Her characters stand out because they sit comfortably between realism and painterly stylisation, a balance I’ve been trying to achieve with my Fio Germi model.

The Rookies - Mathilde Mano - 3D Character Art 2024, by MathildeMano

Final year student at Artside. I love badass stylized characters with a painty look. Here's my work : badass stylized characters with a pa

One of the most interesting things about her work is how she handles textures. Rather than aiming for pure realism, she brings in a subtle hand painted feel that gives her characters more personality. It stops them from feeling too rigid or overly technical, and instead makes them feel more expressive and alive. This approach also reflects what’s currently happening in the industry, where stylised characters often blend realism with illustration instead of fully committing to one or the other. Platforms like ArtStation Learning reinforce this idea, showing how modern workflows combine technical skill with artistic interpretation. Her use of proportions is another thing that stood out to me. Even though her characters are stylised, they still feel believable because they’re grounded in solid anatomy. That’s something I’m trying to apply in my own work, starting with a realistic base and then pushing proportions in a controlled way to improve appeal. Studying her work made me realise that stylisation isn’t just about exaggeration, it’s about making deliberate, thoughtful choices. Presentation is also a big part of what makes her work effective. The lighting, rendering, and overall composition feel just as important as the model itself. She often uses soft but directional lighting, which helps define the form and materials without distracting from the design. This matches current industry expectations, where how you present a character can be just as important as how well it’s made. I’ve also been paying attention to how structured her workflow seems. Looking at her work alongside industry resources, it’s clear she follows a strong pipeline, from blockout through to high poly, retopology, and final render. That lines up closely with the process I’m using with ZBrush, Maya, Substance Painter, and Marmoset, and it’s reassuring to see that connection. Overall, studying Mathilde Mano’s work has helped me get a clearer idea of what “industry ready” stylised characters look like today. It’s not just about the modelling, it’s about combining strong design, controlled stylisation, and polished presentation. Her work gives me a solid benchmark to aim for and confirms that I’m heading in the right direction with my approach.

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Blog#26. Hyper-Realism vs Stylization in Character Art

A major trend in recent character art is the divide between hyper realism and stylization. With advancements in technology, many AAA games are pushing towards photorealistic characters, while stylized art continues to remain highly relevant, particularly in games like Overwatch and Fortnite. Hyper realism focuses on achieving lifelike detail, accurate anatomy, and physically correct materials. Advances in rendering technology and real time engines have made it possible to create characters that closely resemble real humans. According to Shiyan (2024), technological improvements in rendering and asset creation have enabled hyper realistic workflows to reach new heights, with realism benefiting heavily from scanning and physically based rendering pipelines. However, academic research suggests that pure realism does not always guarantee viewer appeal. Zell et al. (2015) found that while realistic materials and shapes increase perceived realism, they are a "bad predictor for appeal," and stylization can actually drive more positive emotional responses. On the other hand, stylization prioritises shape language, exaggeration, and visual clarity. Stylized characters are often more readable, expressive, and adaptable across different platforms. They also tend to age better visually compared to realistic characters, which can quickly become outdated as technology progresses. Shiyan (2024) traces the evolution of stylization in games, noting that its visual longevity and distinct artistic identity have made it a preferred choice for many developers. From my perspective, stylization is more aligned with my current skill set and creative goals. Since I am focusing on creating a stylized character, this trend directly supports my approach. Stylization allows me to emphasise strong silhouettes, clear forms, and personality driven design rather than focusing purely on realism. This approach is backed by empirical evidence, Zell et al. (2015) demonstrated that strategic de-emphasis of realistic shape and material details can enhance perceived appeal and circumvent the "uncanny valley" issues often associated with photorealistic faces. Another important advantage of stylization is production efficiency. Stylized assets often require fewer resources while still achieving a strong visual impact. This is particularly relevant in game development, where performance optimisation is critical. However, both approaches have their place in the industry. Realism is often used in narrative driven AAA titles to enhance immersion, while stylization is commonly used in competitive and multiplayer games to improve readability and appeal to a broader audience. Shiyan (2024) further argues that the evolution of stylization often parallels advances in realism, with each approach borrowing technical innovations from the other. In conclusion, the balance between realism and stylization reflects different artistic and technical priorities. As a developing character artist, understanding both approaches, along with the perceptual research behind them, allows me to make more informed design decisions and adapt to different industry requirements. References: Shiyan, A. (2024). The art of stylization: Understanding its transformations in games. 80.lv. Zell, E., Aliaga, C., Jarabo, A., Zibrek, K., Gutierrez, D., McDonnell, R., & Botsch, M. (2015). To stylize or not to stylize?: the effect of shape and material stylization on the perception of computer-generated faces. ACM Transactions on Graphics (TOG), 34(6), 1-11.

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Blog#25. The Rise of AI in Character Art

Since 2022, the emergence of AI-generated imagery has significantly influenced character art workflows. Tools such as Midjourney and Stable Diffusion allow artists to generate high quality concept images from simple text prompts. This has introduced both opportunities and challenges for character artists, particularly in early stage ideation. AI is increasingly being integrated into creative pipelines, especially in the concept phase. According to Epstein et al. (2023), generative AI systems are rapidly improving and are capable of producing outputs that can resemble professional creative work in certain contexts, raising questions about the evolving role of artists. As a result, AI is not replacing artists entirely, but it is reshaping how ideas are developed and visualised. From my perspective, AI can be a powerful tool for rapid iteration. It allows artists to explore multiple design directions quickly, which can be useful during brainstorming stages. However, it also raises concerns around originality, authorship, and ethical use of datasets. Many AI models are trained on existing artworks without explicit consent, which creates tension within the creative community. Another important consideration is the impact on skill development. If artists rely too heavily on AI for generating ideas, there is a risk of weakening fundamental design skills such as anatomy, silhouette design, and visual storytelling. For someone like me, who is still developing strong character design foundations, it is important to treat AI as a support tool rather than a replacement. In relation to my own project, I see AI as something that could assist in early concept exploration, but not in the final design or execution. My goal is to develop a strong understanding of form, stylisation, and storytelling through manual practice. Therefore, I would use AI selectively, ensuring that the final outcome remains original and reflective of my own artistic decisions. Overall, AI represents a major shift in the character art industry. While it improves efficiency and expands creative possibilities, it also challenges traditional workflows and raises ethical concerns. As a character artist, adapting to this change while maintaining artistic integrity will be essential. References: Epstein, Z., Hertzmann, A., Herman, L.M., Mahari, R., Frank, M.R., Groh, M., Schroeder, H., Smith, A., Akten, M., Fjeld, J., Farid, H., Leach, N., Pentland, A. and Russakovsky, O. (2023) Art and the science of generative AI: A deeper dive. arXiv preprint. Available at: https://arxiv.org/abs/2306.04141

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Blog#24. Major Project Development: The Importance of Real-World Scale

Before moving into lighting and rendering, one important step I need to address is ensuring that my low poly model is scaled to real world proportions. This may seem like a small technical detail, but it has a significant impact on how the model behaves and appears in the final presentation. Working with the correct scale helps maintain consistency across the entire pipeline. When the model is accurately sized, lighting behaves more realistically, especially when using physically based rendering systems in tools like Marmoset Toolbag. Light intensity, falloff, and shadow behaviour are all influenced by scale, so if the model is too large or too small, the lighting can look unnatural or difficult to control. Another important factor is the use of HDRI environments and camera settings. These systems are often designed with real world values in mind, meaning that incorrect scaling can lead to unexpected results, such as overly harsh highlights or weak shadows. By ensuring that my character matches realistic dimensions, I can achieve more predictable and visually accurate outcomes during rendering.

Scaling also directly affects how materials respond, particularly when it comes to subsurface scattering (SSS). SSS simulates how light penetrates a surface, scatters internally, and exits at a different point, something that is especially important for materials like skin (Adobe, n.d.).

Discover how subsurface scattering influences realistic rendering by understanding how light interacts with translucent materials to create

If the model is not correctly scaled, the SSS effect can appear unrealistic. As ITU Online (2025) notes, “set the real-world scale first. If the model is 10 times too large or too small, the scatter settings will feel wrong no matter how good the shader is.” Therefore, ensuring correct model scale is critical for believable SSS results. For example, a model that is too small may cause light to scatter too quickly, making the surface look overly soft or waxy, while an oversized model can reduce the scattering effect, making the material appear too hard or opaque. A correct scale ensures that the light travels through the material at a believable distance, resulting in more natural and convincing skin shading. In addition, maintaining real world scale is important for consistency if the model is used in other environments, such as game engines or animation pipelines. It ensures that the character integrates correctly with other assets and avoids issues later in production. To achieve this, I will check my model’s scale in Autodesk Maya before exporting it, using real world units and reference measurements. Overall, scaling is a foundational step that directly affects lighting, materials, and presentation, helping me achieve a more accurate and professional final result.

References: Adobe (n.d.) What is subsurface scattering? Available at: Adobe Substance 3D guide (Accessed: 27 April 2026). ITU Online (2025) What is subsurface scattering? A practical guide. Available at: ITU Online article (Accessed: 27 April 2026).

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Blog#23. Major Project Development: Rendering 

Following the lighting setup, the next step in my workflow is rendering, where I will produce the final images and presentation of my character. For this stage, I will continue using Marmoset Toolbag, as it allows for high quality real time rendering with a wide range of control over visual output.

Rendering in Toolbag | 3D Real-Time Physically-Based Rendering

RENDER RENDER art by Ben Armstrong & Popularity Choi 3D Rendering in Toolbag Craft breathtaking renders with speed using

Before lighting and rendering, I will carefully set up the size of the character to match the real world scale and my camera angles to showcase the character effectively. The angles will include a primary beauty shot that captures the overall design, along with close ups of the face, accessories, and important details. Choosing the right camera focal length is important, as it helps avoid distortion and maintains accurate proportions. I will also adjust the field of view to ensure the character looks natural and visually balanced. A slightly narrower field of view can help create a more cinematic and professional appearance. In addition, I will make sure the character is properly framed within the composition, keeping the focus on key areas without unnecessary distractions. Another important step is refining render settings. I will increase the output resolution to ensure sharp and detailed images suitable for portfolio use. I will also enable features such as anti aliasing to smooth out edges and improve overall image quality. If needed, I will use depth of field subtly to draw attention to specific parts of the character, such as the face, while softly blurring the background. Material presentation will also be a key focus during rendering. I will ensure that textures respond correctly under lighting, with proper roughness, reflections, and surface detail clearly visible. This helps communicate the quality of both modeling and texturing work. Finally, I will export multiple renders, including turntable views and the animated version of the character. This variety allows me to present the project more effectively in my portfolio. To sum up, rendering is the final step that brings everything together. By carefully controlling camera, composition, and render settings in Marmoset Toolbag, I aim to produce polished and professional images that clearly showcase the quality of my character.