Hard Surface Modeling for Characters | CG Master Academy

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Hard Surface Modeling for Characters

A 6-week course focused on designing and building complex hard surfaces for characters

Course overview Course overview

Course Overview

Build and design hard surfaces for characters

Throughout this course we are going to take a look at the techniques and challenges of designing and building hard surfaces for characters. This does not only include design, sculpting, and modeling, but especially the focus on creating character hard surfaces with animation in mind from the very beginning. The goal is to get students to look at the subject matter from a new perspective and to take away as much knowledge, tips, tricks, and techniques as possible for use in their own work.


Course Format:   Standard
Lecture Type:   Pre-recorded
Feedback:   Individually recorded
Duration:   6 weeks
Assignment:   Due each week. Expect to spend 10-20 hrs/wk viewing lectures, q&a, and time on assignments
Q&A:   Once a week
Materials:   Photoshop, ZBrush and 3D packages such as Maya, 3Dsmax, Modo, or else should be known to follow along
Skills level:   Intermediate
Prerequisites:   Knowledge of ZBrush and 3D packages such as Maya, 3Dsmax, Modo; | Some basic but solid anatomy knowledge is a plus for having a base body model to get started | Basic knowledge of Photoshop

Hard Surface Modeling for Characters WHAT YOU’LL LEARN

What you'll learn

The more you know, the better.

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Taking a look at the difference between hard surface modeling and organic modeling (deformation) | Design principles and challenges when building hard surfaces for characters | Have a look at the character concept (background story, design breakdown, reference used) | Evaluating design for required range of motion
Quick intro to ZBrush toolset and personal layout for the basic hard surface blockout | Blocking out the basic/primary shapes of the hard surface and clothing | Designing the back of the character during blockout (on the fly design without 2D concept) | Explaining ZBrush workflow, tools used and design decisions while sculpting the concept model
Using ZRemesher and Decimation Master to create a quick low res version of the base body | Building a simple rig inside of Maya for motion tests |Testing key poses of the character and talking about feedback from the Rigger | Evaluating and applying design changes to the model in order to meet requirements to range of motion and deformation | Testing design changes again on the rig
Building and using custom brushes for hard surface detail | Sculpting smaller shapes, details and bringing concept sculpt to final | Stage for cleanup and remodeling | Some rules and guidelines for adding detail to hard surfaces | Showing techniques of cleaning up hard surface parts for texture baking
Decimating the character and exporting him into another 3D package (here: Maya and Modo) | Setting up the scenes for retopo | Showing first of two ways of remodeling the character: Sub-D/Highres modeling for offline rendering or texture baking.
Showing second of two ways of remodeling the character: Low res modeling for real time rendering (games). | Topology guidelines for real time mesh (geometry examples, overpaints): polygon budget, technical requirements for the mesh such as LODs, Uvs, rigging, character variation etc.

Igniting your imagination

Arno is a Principal Character Artist at Guerrilla Games, located in the heart of Amsterdam. He contributed to the development of Killzone Shadow Fall, Horizon Zero Dawn, and its DLC the Frozen Wilds. Currently, he is working on an unannounced project. His work is influenced by the traditional arts education he attended at the Florence Academy of Art.

Student interviews


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Knight Production Guide

Interview with Joakim Hammarslätt

Joakim Hammarslätt discussed the approach to creating the character he worked on during the CGMA Hard-Surface Modeling for Characters course and shared his step-by-step modeling workflow in ZBrush

Knight Production Guide


My name is Joakim Hammarslätt, and I am currently attending FutureGames in Stockholm. In the following, I will discuss my approach to making armor, and some of the lessons I have learned since and during Ben Erdt's hard-surface modeling class at CGMA. 

Before joining the class, I had been planning on doing a project about a knight for some time. This class seemed like a great opportunity to do some research on historical armors, while also having my pipeline and technical skills pushed by a more senior artist. 

Some weeks before the beginning of the course, I had exchanged a few e-mails with Ben about the class. I proposed to make a knight instead of a sci-fi suit. He was quite enthusiastic about it and supported the idea.

Joakim H


Assuming a concept art is given (which the class did provide), the general workflow can be summarised as: 

  1. Break down the reference by dividing the character into larger forms, and separating the materials indicated in the concept. 
  2. Construct the major blocks using ZBrush and DynaMesh.
  3. Cut the forms into smaller parts, and export it into Maya for test rigging. Be mindful of geometry and articulation errors in your design. 

 3.1. If the character cannot perform key poses because his armour prevents him, make necessary adjustments.

  1. Bring the model back into ZBrush. Here you will also have to choose if you want to finalize the high poly using DynaMesh, or if you want to create a model suitable for SubD-modeling before finalizing the high poly. 
  2. Make the game-ready mesh. 

Working on the Details

Historically, putting pictures on armour would be done with etching, painting or engraving. In my research, I found a collection of decorative etching prints made by Daniel Hopfer (1470-1536). Hopfer's patterns were cut out and turned into a Trimsheet in Photoshop and later brought into Substance Painter to act as stencils & masks. 

The polygon strips are made by duplicating geometry from the armour and being offset slightly. Once duplicated, the strips' UVs are unitized, sewn and laid out horizontally in their own UV space, in order to utilize the trim sheets. 

A similar technique was used for the cylinders decorating some borders of the armour. However, a few more steps were taken. 

  1. Model the pipe
  2. Project onto a uniform cylinder with straight UVs
  3. Cut and paste the texture into the same texture as the leather straps (optional).
  4. Extrude the cylinders using your 3D package of choice
  5. Unwrap cylinders, and move UVs into place. 

Lastly, both the "squiggly buns" and the "brushstroke" decorations are stamped across the mesh using alphas painted in Photoshop. 

The Biggest Challenges

Perhaps, the major issue was related to the ambiguity of the project development - often, I was working on a number of things at the same time without a clear vision of where the path would lead. In moments like that, it was very helpful to talk to Ben, that was acting as an experienced and thoughtful supervisor and giving me valuable pieces of advice. Amongst them - "do one thing at a time", which turned to become one of the biggest takeaways from the project for me as well as - "keep it together". Don't split your mesh into several SubTools too early. Your shoulder pad might consist of 4 parts, but jumping between 4 SubTools and adjusting things is doubtful practise in the early stages. Work on them as a single SubTool until you are happy with the shape, then split it into 4, clean up and refine the individual parts. 4 Break the model into grayscale, and add contrast in material and specularity. When looking at character design, we can consider 3 levels of contrast, form, colour, and specularity. 

CGMA program is cleverly designed to help students to avoid such confusion and sidetracking - every week is dedicated to focusing on a specific task or skill development. My advice would be to implement this strategy and consider adding weekly themes or goals for your own projects. 

On a side note, I would also recommend to focus on your project and limit distractions when it comes to work, such as listening to GDC talks/podcasts or binging YouTube tutorials which are not directly related to your current work. Stay mindful, focused and do your research.

Working on Materials

There are a handful of armour smiths on YouTube who are willing to talk about their approach to traditional smithing, such as Jeffrey Wasson and Albert Collins. The process of shaping physical armour can be summarised as cutting patterns out of a sheet of steel and hammering it into shape. Think pattern sewing, but with metal. 

When it comes to game production, we need only to indicate the process of shaping the armour - we create the pieces using mesh extraction and moving things into place, instead of hammering flat metal surfaces. After the shaping is done in ZBrush, I will indicate hammer marks all over the armour, using a custom round brush, trying to mimic how a real smith would work their armour using a dome-shaped hammer. 

For instance, bowls and spherical pieces like the chest piece & the back of the helmet would be worked from the middle and out, similar to how a pizza baker would roll out the tomato sauce. 


Once this stage is completed, instead of the evening the surface by using the Smooth Brush, I will use a modified Trim or Polish brush using a square alpha, replicating the process of planishing, where the smith flattens the surface of the armor with a square or rectangular hammer. 

Finally, all edges of the mesh are given a bit of work in order to break up the smooth edges and give them a more authentic look. 


When discussing the render setup with Ben, we agreed that the most important part of a portfolio project is to highlight the work that has been done. That means the pose is fairly simple, and there is very little post-processing. 

Future Plans

I am still interested in medieval armors and their representation in games. The course at CGMA gave me a great inspiration to venture into more projects like that one. However, right now, I am focusing primarily on furthering artistic skills on small scale projects such as armor studies, trying to figure out how the different parts work from both artistic and mechanical points of view. I am considering to challenge myself once again with a knight figure in the nearest future to see how my perception and work have changed since the end of the course.


Joakim Hammarslätt, Character Artist

Interview conducted by Ellie Harisova

Cyborg Monk: Modeling Workflow in ZBrush & Maya

Interview with Marcos Melco

Marcos Melco did a breakdown of his hard-surface character Cyborg Monk made during CGMA’s course Hard Surface Modeling for Characters.

Cyborg Monk: Modeling Workflow in ZBrush & Maya


Hello! My name is Marcos Melco, I’m a Brazillian 3D Modeling and Texturing artist with 3 years of experience in the VFX industry and many more in trying to figure out “How to art”. I’m currently not working in the industry but I’m gearing up to hopefully return this year. I’ve had the immense pleasure of working at Method Studios (2015-2018) and Icon Creative Studios (2018) in Vancouver, Canada. While at Method Studios, I worked on Black Panther, Okja, Captain America: Civil War, and King Arthur: The Legend of the Sword. At Icon Creative Studios, I worked on Disney’s Rocketeer reboot.

In this article, I’m going to talk a bit about my process of creating the Cyborg Monk character during CGMA’s Hard Surface Modeling for Characters course run by Ben Erdt.


Why did I take a Hard Surface Modeling course at CGMA?

This question has a two-part answer:

First of all, this industry is full of artists who are brutal with themselves. We shouldn’t be, but we are. I have a bit of Imposter Syndrome (that feeling of being undeserving of your job position or praise). Being a technical-minded person, I’m always second-guessing myself. “Is this the correct process of doing this?” As if such a thing existed in CG. The right mindset should be “If it works, looks good, and is completed within a reasonable time and specifications then yes, it is!”. I didn’t get rid of this bad habit yet but I’m trying to. So I took this course because I wanted to see how the real pros go about it. I wanted validation that I’m doing this the right way.

The second part was Ben Erdt’s art. His personal work is full of characters with great design, insane detail, but the most important aspect of it is that he makes them production-ready. A lot of projects you find on CG society or Artstation are stunning but they work only as still images. Ben’s work is functional, it can be rigged and animated. As a production artist, those are the skills I want to master.

I was very pleased to find that my workflow was similar to Ben’s. I still have a lot to learn to reach his level, but I’m hopefully on the right track. He helped me reinforce what I was doing right but also taught me some new ways of doing things, pointed out steps that most artists skip during the design process and made me realize the power of some techniques I was aware of but to my detriment, didn’t really use.

Choosing the Concept / Preparations

At the start of the course, Ben gave us a few concepts of characters to work on. I chose Jianli Wu's concept for its design and the level of detail suited that my needs. l really liked the cyborg monk vibe and its composition of hard armor clustering on the upper body and lighter armor for the rest of the body. It makes the character feel quick and skilled and also fits its theme.

It was also helpful that the level of detail is high on the upper body and gets streamlined in the lower body which suited the course timeline. I was able to focus on the hard-surface portion during the 6 weeks I had with access to Ben’s feedback and I knew I could complete the rest on my own later.

To prepare for the modeling stage, Ben had us collect references, come up with a character backstory to help us breathe more life into the design and do a material breakdown of the character. I also did an extra paintover to expose the details the armor is covering.


Backstory and Material Breakdown (Course assignment for Week 1) PS: His backstory is lame, I know, I’m not a writer

Blocking Stage (ZBrush)

Concept artists never deliver a 100% solved design. They do the bulk of the work and it’s up to the modeling artist to solve problems and flesh out the design. Sometimes you also need to change details that overcomplicate the modeling or rigging parts. It often happens that the design is changed in production. So don’t feel bad if you aren’t able to match the design 1 to 1.

Two important changes I made during the blocking phase were: 

  1. Moved the piston that connects the character arm to the Shoulder armor. Making a piston that works for that arm setup would be straightforward to a seasoned rigger but I don’t have that skill set, so I thought it was best to move it to the Shoulder armor making it simpler for the rig.
  2. The tail vertebrae were really organic-looking, morphing along the spine gradually into other shapes. I didn’t have the time to model each one to make that transition noticeable so I changed them to 3 simpler designs and manually scaled them along the tail. It doesn’t do the concept justice but I saved a lot of time approaching it that way.

I’ve started in ZBrush using the average male model that comes with the software. I blocked the body proportions, then went into Maya to quickly retopologize and remove details I wouldn't need (nipples, genitals, facials details, and toes), then moved it back to ZBrush to start the armor sculpting. 

ZBrush is really weird with how it handles the scales and position of the objects. The extra benefit of this first step is that it helps me make sure Maya and ZBrush scenes match. A good trick is having your top subtool as a ground plane (I use a 2m² one created in Maya (units set to cm)). This gives me a reference of scale and position. It also helps with naming, as every time you save your Ztool the top subtool gets renamed to the Ztool file name. 

The retopo body mesh gives a source to start extracting costume parts from. Later in rigging, I can skin this base mesh, then transfer the skin weights to other deformable costume parts.

The costume sculpting was done using the old-school ZBrush Dynamesh workflow.

To create new parts, I either duplicate the base mesh and slice the parts I don’t need (Helmet, Chest armor) or use mesh extraction or panel loops to create thin meshes (Arm plates, Leg armor). 

Using the classic tools of Masking, Clip brushes, Clay Tubes, Move, hPolish, Trim Dynamic, and DamStandard I define the shapes. You can also use alphas with base geometric shapes to speed up your blocking work.

Blocking stage (Course assignment for Week 2) 

I continue working in ZBrush up to the point when all the shapes are in place and there is nothing to solve in terms of design or proportions. I deliberately left the shoulder pistons unsolved as I planned to use Maya rigging tools to block functional ones. I used aim constraints and groups, nothing too complicated. Just made sure the Shoulder armor could move around and the pistons wouldn't crash or disconnect by being too short.

One thing I have to comment on before we move to retopology is how I botched the proportions of the character. His chest is too wide, the armored collar is too high, and the shoulders too small. It makes his torso look super long. The character looks fantastic in up-close shots but when you look at the character as a whole you’ll know what I mean. It’s too late to fix it as it would take too much time to do it properly. Let it be a warning to myself and you. Be careful with your proportions, I’m sure that every character artist out there noticed my mistake. Oh, well! 

Range of Motion Tests 

Week 3 of the program was focused on motion tests. We broke the model into parts and built a quick and dirty rig to see if the model could move around without severe crashing. This character armor is well designed so it can move with freedom as long as the clavicle doesn’t rotate forward or upwards too much. In hindsight, I should’ve changed the design a bit by moving the border of the Chest armor inwards, giving the arms more freedom of movement and reducing deformation if the character was to be animated.

Range of motion tests (Course assignment for Week 3)

Retopology in Maya

For this project, since I was going for a Sub-D ready character I decided to move to Maya and add more details directly in my final mesh. Sometimes, I’ll go back to ZBrush to block more details (I did this to the Collar armor and Helmet) as ZBrush allows me to work without the distraction of topology.


Sculpt ready for Maya (Course assignment for Week 4) 

Notice that the shapes are solved but the surfaces aren’t perfectly polished, it’s not useful to waste time cleaning surfaces in ZBrush if you can clean them during retopology. During retopo, working from big shapes to small, we can create those shiny clean shapes everybody expects to see.

I use 2 methods to start a retopo object:

Quad Draw on a live mesh is the main tool for retopology. If the shape from ZBrush is really clean you can do the whole model using mostly Quad Draw. But it’s important to know that sometimes it’s better to Quad Draw the bigger forms then turn it off and poly model the small details using the ZBrush mesh as a guide (Live Mesh off). Especially for parts that aren’t really fleshed out.


Mesh example using Quad Draw method

Another way of getting started is Zremesh then GoZ into Maya. Starting from scratch always takes time, so getting ahead with Zremesher and cleaning-up in Maya is also a good tactic. 

Mesh example using Zremesher method

Experiment with Zremesher on your meshes with Polygroups and Keep Groups on. Play with Smooth Groups slider for better results.

Fair warning: SmoothGroups is no joke, it really rounds off sharp corners of your mesh. If you want a fighting chance, go with crazy low values like 0.0001 (and it still gives round corners) or just turn it off completely. There is no “one size fits all” setting here, experimentation is key. You might save a lot of modeling time here.  

Useful Maya Tools

Let me walk through some tools I use a lot that I’ve seen some people overlook. Hopefully, there is something new for you here. Some experimentation is required.


Modify Menu

For the Matching Tools, select the target objects first then the object that will be the source (matched to).

  • Match Translation, Match Rotation - These tools allow matching the translation and rotation of new objects to the selected target object.
  • Match Pivot - Moves the pivot to the source object without changing transforms.
  • Bake Pivot - This one is the best tool. Bakes the translation and rotation of the pivot current position. You can snap and orient the pivot then get that exact transform values. Very useful to get the transform of an object during blocking phases.

A combination of Bake Pivot, Match Translation, and Match Rotation allows blocking mechanical moving parts quickly. Matching also assists in the placement of bones and locators during the rigging step. 

Bake Pivot also helps you to move the symmetry plane when in object mode. Ever wonder why sometimes it doesn’t work even if the pivot is in the correct position? It’s because you didn’t bake in the pivot transform values. It took me ages to figure that one out and I’m still mad about it.

Edit Mesh

  • Transform - Allows you to move components along its normal. Works kinda like inflate in ZBrush. Super useful to change the thickness of cables or extrusion heights after you cleared the object history.
  • Edit Edge Flow - It averages the selected edge loop based on the neighboring edges, this is my favorite tool to get smooth curved surfaces quickly.


Edit Edge Flow

Mesh Tools

  • Connect - Creates an edge between 2 vertices or an edge loop along the midline of selected edges.
  • Multi-Cut - This one is super useful as well. You can use it to insert edge loops or draw panel cuts in an existing mesh. Just go nuts with making cuts and clean the edge later.
  • Sculpting Tools - If you ever used Mudbox, these brushes work in a similar way.
  • Grab Tool - Works just like the move brush in ZBrush. You can use it to change shapes or just move vertices to even out the spacing.
  • Relax Tool -  Quickly evens out the surface vertices with minimal shape loss, remember to keep it away from supporting loops and corners.

Texturing Stage

The texturing stage for this character didn’t take too long and honestly, I didn’t push the textures as far as I should have. Just enough to make the materials read well in V-Ray

Substance Painter can create great-looking materials quickly. You can make great textures only using its presets. The caveat is that every texture artist worth their salt will look and say “Oh! He is using Grunge X and smart material Y” so don’t do that. Take your time to create distinct materials and blend your grunges. You can also save those for later use.

I started by splitting the character into two files to help Substance run quicker and keep my file sizes smaller. One file had the metallic armor, the other had everything else.

I created my maps for V-Ray 3.6 so I used the Non-PBR (Physically Based Rendering) spec/gloss setup in Painter. In simple terms, Specular maps will tell V-Ray how shiny the pixel is and Glossiness tells us two things, the size of the highlight and how blurry the reflection is. IOR (Index of Refraction) is also very important for most materials and can be texture-mapped but if you need to map IOR it’s because the base material is changing (Bare metal to the coat of paint). It is a better practice to use a Vray Blended shader and a mask map and control the material aspects in their independent shaders. You get more control that way.

Good UVs are a huge help during texturing. There are a few guidelines that will pay off when texturing.

  • Separate the UDIMs by materials.
  • Every line should only contain UDIMs of the same type of material when possible.
  • Texel density should be kept the same across the same material. It’s fine to scale shells up to fill a UDIM with free space. Just make sure the texture scale matches across the model.
  • If some materials don’t occupy enough UV space to fill a full UDIM and also not visible enough to be scaled up, it’s fine to group them together in one UDIM. Keep the shells of the same material clustered together and give enough space between groups for easy selections in the texturing software.
  • The cost of using many UDIMs is an increase in render times, so be as efficient as possible but from my experience, the VFX studios see render time cheaper than artist time. So plan your layouts for faster texturing and with a resolution to spare. You never know if the Director is gonna change a shot and bring your asset closer. If your textures hold up when changes happen, if nothing needs to be redone it will make your leads and production very happy.


UV layout (Maya UV Editor) 

My process in Painter is to set up whole materials (texture sets of diff, spec, gloss, normals) procedurally in the Fill layers. Layer them one on top of the other and reveal the edge wear, scratches and so on by using the powerful mask generators. Nothing new really.

One step that I could’ve done to improve my textures is painting masks for my scratches. If you look closely there are some scratches that wrap perfectly around the geometry. Those never happen in reality and really detract from the quality of the textures. 

Textures for the metallic parts (Substance Viewport) 

Textures for the body (Substance Viewport)

Rendering Stage

V-Ray was the rendering software Method Studios used primarily so I learned the basics there and kept using it because lots of VFX studios still use it as their main rendering software. Its base shader is really easy to use. I used a Vray Standard Material for everything. Most of my materials only needed the maps plugged in and they worked. No remapping nodes needed, yay! There is no shame in remapping your textures though! It’s recommended actually. (For those who don’t use Maya remapping nodes have similar functionality to using HSV, Curves, and Levels on your texture sets.)

The “gold” Metal got a bit more attention. I made two specular maps for this material, as I’ve shown in the Texturing part of this article. The first specular works just like a regular spec map, the second specular map was used to fake an iridescent oily like sheen for an additional breakup. To blend those, we stack the shaders using the usual blend node and a VRayFresnel node to mask the oily sheen. The idea is that the first spec map is used on highlights but at certain angles (surface normal starts pointing away from the camera the second spec gets displayed).

Gold Metal Shader Setup (Maya Hypershade)

I’ve also used a similar setup for the cloth undersuit. I duplicated the shader and in one version made the diffuse map slightly brighter. Then using the same setup as for the gold shader I blended them together using the VRayFresnel. This setup gives a velvet-like result, I just toned it down to keep the cloth feel without drawing too much focus on it.

I won’t get into the Lighting part because most of my lighting was created through trial and error. I just placed a few Area Lights and a VrayLightDome (HDRI lighting) to light the model. I do need to spend some time learning lighting fundamentals to give accurate advice. It’s on the list.

Wrapping Up

This project was a really good ride. I think I came really close to Jianli Wu’s concept. The biggest challenge is always converting the 2D concept into a working 3D model, solving the hidden parts and making sure the character can move with its costume. After that, follow the course and with patience finish the character. 

If you are considering taking Ben’s course, make sure you are comfortable around ZBrush and your favorite 3D modeling package. There is a lot to learn from Ben and you wouldn't want to waste time struggling with software issues. If you are comfortable with the basics I really recommend you take it.

I hope this article was helpful! Huge thanks to all the artists and staff that helped me along my art journey and thank you for reading all the way though! 

Marcos Melco, 3D Modeling & Texturing Artist

Interview conducted by Ellie Harisova

Combining Skin and Hard-Surface Workflow in ZBrush and Substance Tools

Interview with Masao Hieno

Masao Hieno did a breakdown of his beast he created during the CGMA course and shared the details of his approach to modeling in ZBrush and Maya and skin workflow Substance Painter and Substance Designer. 

Combining Skin and Hard-Surface Workflow in ZBrush and Substance Tools



Hi, my name is Masao Hieno. I'm currently an Environment Artist and work on pre-rendering cinematic trailers for various game titlesю

I originally studied painting at the Tokyo University of the Arts. Around that time, a friend of mine started working at Polyphony Digital as a 3D CG artist.  Their work and the quality of video game graphics made me interested in the world of 3D CG. And I also applied for the job of part-time 3D CG artist assistant and fortunately started working there.

After working on the Gran Turismo series, I moved to my current company as an Environment Artist.

About the CGMA Course

The main reason I decided to take CGMA was that I can receive interactive guidance such as individual feedback and Q & A from an instructor every week.

I was also happy because I was inspired by the works of other students who attended at the same time. Another reason is that the work of Ben Erdt who was in charge of the video tutorial for this course was very attractive for me.

I wanted to improve my skills of design, sculpting in ZBrush, and hard-surface modeling. Moreover, I also wanted to create high-quality work for my portfolio.

After considering my aim and CGMA style, I decided to take the course because I thought it matched my aim.

Working with References

In this course, first, students choose one of the multiple concepts to create hard-surface armors and characters.

After choosing the concept, I analyzed it and collected various photo references. I think it's very important to refer to real-life references in order to create a high quality and convincing model.

Whenever I am unsure about a final image of my work during the production process, I always gather necessary photos from the Internet and use them as a reference.

Also, the concept art I chose was from the front. So I had to design the hard surface armor on the back and details. At that time, I designed it with reference to the internal structure of various machines. The inner panel of printers and an engine of the aircraft were very good inspirations.




First, I roughly sculpted the creature's body on ZBrush. I cut out the armors from the base body along with the shape of it. I mainly used Mask Curve, Clip Curve, ClayTube, and Move brush to create large shapes, and also use hPolish to make shapes smooth while maintaining a large shape of armors. I also added small holes and lines using those brushes.


After creating the body, clothes, and armor shapes, I made some poses on Maya. I checked whether the hard-surface armors don't interfere with each other, and there was enough space for the arms and legs to move. When I found a problem of interference, I fixed the shapes of the armor on ZBrush. After that, I made the armors smooth and added details more on ZBrush.

I created alphas from the models created on Maya and used them to create brushes for hard-surface details. I was able to add mechanical details easily by using these brushes.

Then, I brought the armors back to Maya for retopology and refining shapes of the hard surface armors. Mechanisms around the wings were modeled on Maya.

After finishing retopology and refining shapes, I brought those models back into ZBrush. And I added damages of small scratches and dents.

For sculpting surface damage, I created alphas and used them to add detail. I created a height map using BitMap2Material from photos of metal scratches. In the end, those are about 400 parts including the body, suit, armor, etc.

Regarding anatomy, I referred to the human body and the legs of birds. The book "Anatomy for Sculptors" has greatly helped me understand anatomy. It was a very easy-to-understand and useful book for me.

Also, I was greatly helped understand anatomy by the advice of Laura Gallagher who was the instructor when I took the course.

I had some feedback about anatomy through a recorded video by Laura so that I was able to fix some unnatural parts of the base body in the early stage of sculpting.


Regarding texturing, I had to texture many parts, so I decided to use Substance Designer. I can change the geometry and UV after texturing by procedural texturing using SD. First, I unfolded UV on Maya and placed them for each UDIM tiles.

Then, I textured a part of the hard surface and applied procedural texturing to other parts. I used textures of Substance Source and simple single color textures as base.

I layered them using baked maps from geometry and output maps from ZBrush. Also, I used SD's noise, scratch, Mask Generator, and so on.

Each texture is very simple. I think I can create a complex and convincing texture even with simple materials by layering using Generators with some maps from SD and ZBrush.

In addition, I used the vertex color on Maya to create masks for each material of metal, plastic, rubber, and so on. I applied each texture for each part using those masks.

Moreover, I used Polypaint to paint the rough area where I wanted to apply oil stains and used it on SD as a mask.

Regarding dirt and rust on metal, I used a combination of Ground Dirt node and Dirt node on SD. The closer the parts are to the ground, the more strongly the parts have dirt and rust.

I also used SP to create masks of small stickers. Basically, most of the hard surface armors were textured on SD.

Skin Workflow

As for the creature, I took it to Substance Painter and projected the displacement maps that I purchased at Texturing XYZ  after finishing sculpturing a base body.

Then, the displacement maps from SP were combined with the displacement maps from ZBrush in Maya. I chose this method because I thought that this method was faster than modeling all the fine skin details on ZBrush. This workflow is based on the tutorial in Texturing XYZ.

I also added sculpting considering the projected displacement by using Layers of ZBrush. Regarding texturing, first, I painted the base color of the skin on ZBrush.

Then, I added details to skin color textures on SD by using occlusion and curvature from projected displacement maps and color maps from Polypaint.

I used the Gradient Map node and some maps that I blended the output maps from SP and ZBrush as an input of the node. I was able to add complex colors according to the geometry to the diffuse map by picking a color in the Gradient node from the photo.

I also modeled nails and teeth on ZBrush. After creating the shape of the base, I added details using alphas of scratches and dents. I also used SD and textured it in the same way.

Working on the Armor

Designing hard surface armor was one of the big challenges for me. It was a great learning for me to analyze the design, shape, and details depicted in the concept art and extend it to the back armor which is not depicted in the art.

A particularly useful part of the design process was a balance of shape and detail. I occasionally added too much detail to models in a modeling process. I learned that placing the right amount of detail and paying attention to negative space and balance is important for creating a high-quality model.

From a technical point of view, creating hard-surface armor on ZBrush was also one of my challenges. I usually use ZBrush for rocks, ground, destroyed buildings, etc. However, I have not used it for hard surface modeling until this course. So the process of shaping and adding hard surface detail while maintaining a smooth shape was a very useful experience.

I learned so much from each process that they were helpful.


First, I modeled and placed a roof and window grids and placed a spotlight on it. The models were very simple because they were blurred by defocus.

In addition, I put some Arealights as fill and rim lights. Moreover, I  added aiVolumeScattering to this scene to create dramatic lighting. This allowed me to create a very atmospheric God Rays. I referred to this helpful tutorial by Arvid Schneider.

MtoA 109 | God Rays - Light Scattering | using Arnold with Maya 2017

The rest of the lighting for images of the creature standing on the ground was rendered using IBL with an HDRI map of a sunny day. Finally, I tweaked the lighting a little bit and added vignette and DOF.

The part I wanted to highlight most is the hard surface armor. I was particular about the details around the shoulders and chest, and the design of backside armors.

Biggest Challenges

As I mentioned above, designing hard-surface armor was one of the biggest challenges.

The process from concept sculpting with ZBrush to creating the final details was a great learning experience for improving my design and modeling skills.

Another challenge for me was creating this model as a production level. So I was also conscious of keeping models clean. Creatures, weapons, and hard-surface armor are made with all quads without any geometry errors.

The course at CGMA taught me the entire modeling process including concept art analysis, sculpting hard surface armor and creatures with ZBrush, checking the range of motion, and retopology. 

The instructor, who was Laura, gave me accurate feedback on anatomy and the balance of shapes and details. Her feedback was very helpful because there were many points that I wasn't aware of and familiar with. I was able to understand those points accurately and deepen my knowledge from the feedback of individual recorded videos each week.

I enjoyed designing very much from this work. I would like to improve my 3D skills and deepen my knowledge of design more through my personal works in the future.

Finally, I am very grateful to CGMA for providing a wonderful course. I am also grateful to 80 LEVEL for interviewing me.

Masao Hieno, Environment Artist

Interview conducted by Ellie Harisova