28/04/2025 - 03/08/2025, Week 2 - Week 15 Rio Sato / 0360530
Anatomy and Character Sculpture / Entertainment Design
Bachelor of Design (Honours) in Creative Media
Exercise: Fundamentals of Anatomy and Digital Sculpting
Project 1: Character Sculpt 1: Stylized Character Blockout
Project 2: Character Detailing and Texturing
Final Project: Polishing and Dynamic Posture with props
Fig. 1 MIB
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| Fig. 2.1 Project 1 - Process Work, (20/5/2025) |
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| Fig. 2.2 Project 1 - Process Work, (03/6/2025) |
From week 2 to week 4, I aimed to develop character sketches. I created turnarounds and silhouettes that could be considered characteristics of the characters, as well as details such as hairstyles, facial expressions, and clothing, all in 3D.
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Fig. 2.3 Project 1 - Process Work, (03/6/2025)
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I tried to make a character in 3D. I started with block-out, and created it while being conscious of the length of the character's limbs, the size of the head, and the overall shape.
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Fig. 2.4 Project 1 - Process Work, (03/6/2025)
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The work of adding flesh to the figure has begun in earnest. Feedback indicated that the legs were a little small.
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Fig. 2.5 Project 1 - Process Work, (17/6/2025)
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I added details with an eye to the muscular structure. The balance is good for the remaining soldiers, but I was told that the waist is not masculine and the smallness of the limbs is still noticeable.
Character Sculpt 1: Stylized Character Blockout
Fig. 2 Project 1 - Character Sculpt 1: Stylized Character Blockout
Fundamentals of Anatomy and Digital Sculpting
Fig. 3 Exercise - Fundamentals of Anatomy and Digital Sculpting
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Fig. 4.1 Project 2 - Process Work, (01/7/2025)
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I started adding details to the face, and focused on creating a masculine body. I tried to recreate the figure with broad shoulders and not much of a waist.
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Fig. 4.2 Project 2 - Process Work, (14/7/2025)
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Added details such as hair, clothes, and facial features.
Character Detailing and Texturing
Fig. 4 Project 2 - Character Detailing and Texturing
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Fig. 5.1 Final Project - Process Work, (22/7/2025)
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I changed the character's pose to a pose and tried coloring it. I added shadows and textures.
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| Fig. 5.2 Final Project - Process Work, (22/7/2025) |
I tried to decide on the character pose. I wanted to depict the character using magic, so I pointed his right hand upwards. The light details were missing and it was hard to see, so I added a shadow.
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| Fig. 5.3 Final Project - Process Work, (01/8/2025) |
I moved on to creating the poster. I focused on how the light came in and how to highlight the parts of the character I wanted to show.
Polishing and Dynamic Posture with props
Fig. 5 Final Project - Polishing and Dynamic Posture with props
This module gave me a strong foundation in character sculpting by guiding me through the entire process of anatomical study, digital sculpting, detailing, and posing. Through each stage, I developed a deeper understanding of how anatomy, proportions, and posture work together to create believable and expressive characters.
One of the most important lessons I learned was how critical anatomy is to character design, even in stylized forms. At the beginning, I worked on rough blockouts of the character while paying close attention to limb proportions, head-to-body ratio, and overall silhouette. This early phase helped me understand how exaggeration can still be grounded in realistic structure, and how strong silhouettes communicate a character’s personality and energy clearly from a distance.
As I progressed, I focused more on refining the muscular forms and bone structure. Learning to sculpt features such as the chest, arms, and legs with an understanding of underlying anatomy allowed me to add more natural detail and weight to the character. This stage of the process taught me how important subtle adjustments are—changing the shape of the waist or the thickness of the limbs could entirely shift how masculine or powerful a character appears.
When I moved into detailing and texturing, I became more comfortable with adding elements like facial expressions, hairstyles, and clothing folds. I realized that these details are not just decorative but essential for storytelling. Through facial features and body language, I was able to reinforce the identity and emotion of the character. I also learned to make intentional decisions about surface texture—how materials like skin, fabric, or hair react to light can dramatically affect the realism and mood of the final piece.
In the final phase, I focused on dynamic posing and visual presentation. This was a critical part of the learning process, where I had to think about how to express movement, gesture, and intention. I experimented with lighting and color to guide the viewer’s eye and highlight important areas of the character. It was during this stage that I saw how everything I learned—anatomy, form, texture, and expression—needed to come together cohesively.
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