22/09/2025 - 29/12/2025 (Week 1 – Week 14)
Gabriella Grace Christyanti / 0371915
Creative Media / School of
Design
1. Instructions
2. Lectures
3. Process
4. Reflection
1. INSTRUCTION
2. LECTURES
Our task in this module is to design a character concept that will be sculpted in ZBrush. I envisioned my character as a strong warrior character who is a anthropomorphic axolotl. So before I started drawing, I began with searching up references for him. My main theme is axolotl so I searched up a lot of anthropomorphic axolotl designs along with a lot of other aquatic sea creature designs in pinterest and created my moodboard.
Backstory
The kingdom Valko was born in is an aquatic kingdom, much like Atlantis, it was located underwater with the people that lives in it being aquatic hybrids. There are often wars between kingdoms and each kingdom needs their knights to protect the people. Valko is a knight, he was born with the body of an axolotl hybrid. The rare hybrid that are blessed with the ability of regeneration. In the aquatic kingdom where he was born in Valko saw countless soldiers of the kingdom return from war, they came back broken and scarred, often succumbing to their wounds not too long after battle. Because his own body could recover from any injury, Valko felt a duty that others could not bear. He chose the path of a protector, not because he had nothing to lose, but because his ability lets him endure what others could not. To him, his gift of regeneration was not just a blessing for himself but a weapon for his kingdom.
Personality: Stoic, Righteous, Violent
Role: Knight (Protector)
Moodboard & References
The character is inspired by my interest in amphibians, specifically for this assignment, its axolotls, and my enjoyment of action-based fighting games. These influences were combined to create a humanoid axolotl designed as a combat-oriented protector. Axolotls were selected as the foundation for the character due to their unique regenerative abilities, which allow them to regrow lost limbs. This biological trait provides a strong narrative justification for portraying the character as a resilient and formidable warrior capable of enduring intense combat.
During the visual development process, reference material for humanoid axolotls was limited, particularly when sourcing from platforms such as Pinterest. To address this, I expanded my research to include other humanoid aquatic creatures as well as reptilian designs, as their anatomical structures and textures share similarities with amphibians. These additional references helped inform the character’s proportions, surface details, and overall design, while maintaining a coherent and believable amphibian-inspired aesthetic.
Silhouette Thumbnail Sketches
After finalising the character concept, I proceeded to develop a series of thumbnail sketches to explore a range of poses and silhouettes. To support this stage, I collected pose references that aligned with the character’s identity as both a fighter and a protector. The selected poses include dynamic combat stances as well as more static, grounded positions that emphasise strength, dominance, and confidence. This exploration helped communicate the character’s physical presence and narrative role through body language and posture.
Outfit & Style Sketches
For the outfit design, three variations were created to explore different visual directions and highlight different aspects of the character. The first outfit is a skin-tight design inspired by Black Panther, featuring a belt, necklace, and crown to emphasise leadership and authority. The second outfit is a training ensemble consisting of a tank top, slightly loose trousers, and a cloth belt, which reflects the character’s discipline and dedication to becoming stronger in order to protect others. The final design explores a knight-inspired armour set to reinforce his role as a protector; however, this concept was deemed too complex to sculpt within the available time constraints.
Fullbody Illustration (Anatomy Turnaround)
Building on the previous illustrations, a full-body turnaround was produced to clearly present the character’s design from multiple perspectives.
Dynamic Pose (Splash Art)
Following this, a dynamic splash art illustration was created to showcase the character in action. The selected pose depicts him charging forward while wielding a spear, reinforcing his role as a combat-focused protector. A pink and cream color palette was used for the character’s skin, drawing inspiration from the natural tones of axolotls while remaining visually readable. The surrounding waves were rendered in blue to create strong color contrast and visual balance, allowing the character to stand out as the focal point. The character is positioned atop a fragmented grey rock platform, with curved wave forms and sharp, outward-bursting rock shapes used together to enhance the sense of motion through contrasting directional lines.
Final Output
Project 1 (Skull)
Before beginning Project One, we completed a preliminary exercise focused on sculpting a skull based on Sir Tuan’s example. This exercise was intended to familiarise us with ZBrush and help build confidence in using the software’s sculpting tools and workflow.
Blocking Stage - Rough Blockout
For this task, we were required to create a rough blockout of the character. Sir Tuan recommended using multiple subtools rather than developing the entire form from a single mesh. At this stage, the focus was not on detailed shapes, but on establishing the overall proportions and structure to better visualise how the character would develop.
Blocking Stage - Blockout Detail
After completing the rough blockout, we were instructed to refine the character by adding secondary details, such as muscle definition, to improve overall anatomical accuracy. At this stage, most subtools were merged to streamline the sculpting process. Muscle forms and facial details were then developed using brushes such as RAM, DAM Standard, and Clay Build-Up.
Character Detailing - Final Detailing
For the final detailing, we focused on refining the previously blocked model, carefully enhancing and sharpening key features to make them more visually striking. This stage involved adding intricate details such as skin texture, wrinkles, and finer anatomical nuances, which brought more realism and depth to the character. We also reinforced the overall structure by subtly adjusting proportions and ensuring consistency across all forms. Various sculpting brushes and techniques were employed to achieve a polished, cohesive result, allowing the character’s design to fully pop while maintaining structural integrity and visual clarity.
Final Output
Video Turn Around
Improvement Anatomy
Before moving on to the outfit stage in Project 1, Sir Tuan highlighted that the character’s anatomy still required improvement, as the proportions were not yet fully accurate. In response, I dedicated approximately two weeks to refining the character’s anatomy, carefully adjusting proportions and ensuring a more realistic and balanced form. This refinement provided a stronger foundation, allowing me to proceed confidently to the outfit design and coloring stages.
Turn Around Improvement Video
Outfit Process
After refining our character model, we were instructed to color the character’s body. I used my previous exercise drawings as a reference guide for the color palette. However, since Sir Tuan had not demonstrated the coloring methods, the process took considerably longer than anticipated. Additionally, we were not shown shortcuts such as the eyedropper tool, which meant I—and many of my classmates—had to manually match previously used colors. Despite these challenges, I was ultimately able to complete the coloring process successfully without relying on the eyedropper tool.
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