Anatomy and Character Sculpture-Compilation Body Anatomy
22/09/2025 - 04/01/2025 / Week 1 – Week 15
Valenz Jycee Primadi / 0373407
Anatomy and Character Sculpture/ Creative Media / School of Design
Task 1-4
LECTURE
Every lecture we're given in class
Task
Exercise : 1 Character Design Concept
For the first task in this module, I am creating a character concept that will later be developed into a ZBrush sculpture. He is envisioned as a tall, heavily built king inspired by the imposing presence of Pyramid Head from Silent Hill, but reinterpreted through an ancient Egyptian aesthetic to create a distinct identity. Wielding a massive axe, he embodies both royal authority and raw power, with his scale, weapon, and symbolic design emphasizing his role as the strongest and most intimidating figure.
Back Story
Long ago, Khavem ruled as a wise and powerful king, beloved by his people until envy turned them against him. His own family and subjects betrayed him, chaining him beneath his temple and leaving him to die under the desert sun. His body decayed into rotten flesh, his face shattered beyond recognition. His skin turned the color of sand, and his soul sank into endless silence.
Centuries later, in the quiet outskirts of America, the ground trembles. From the shifting earth emerges Khavem the king who refused to die. His body remains strong, yet his face bears the mark of divine punishment. To conceal his ruin, he wears a stone coffin mask, cold and expressionless, like an executioner of forgotten kings.
In his grasp rests a massive Egyptian axe, heavy and ancient, a weapon born of vengeance and memory. He does not speak. He does not rest. Wherever he walks, the air grows dry.
He has returned to seek revenge. He despises the humanity that betrayed him, and now Khavem carrying the silence of a thousand buried screams—has returned to torment the world.
MoodBoard
The character is inspired by Silent Hill, particularly its use of masks to convey psychological weight and anonymity. I wanted my character to wear a mask to enhance his intimidating presence, and during my research I discovered that in ancient Egyptian times, executioners often wore masks to remove personal identity from the act of punishment. This concept strongly influenced the design. In addition, I drew inspiration from various medieval-era masks, combining their brutal and oppressive forms with Egyptian symbolism to create a character that feels timeless, ritualistic, and unsettling.
Fig 1.1 MoodBoard
Thumbnail Sketch Pose
After establishing the concept, I began creating thumbnail sketches to explore different poses. During this process, I gathered several pose references that I felt were suitable for my character, focusing on strong, grounded stances that emphasize his role as a powerful and dominant figure.
Fig 1.2 Thumbnail Sketch
Fullbody Illustration (Anatomy Turnaround)
From what we illustrated before, we were told to draw a full body turn around for the character.
Fig 1.3 Anatomy Turnaround
Outfit Variation
Then, I styled my character with several outfit variations. I used Egyptian-inspired clothing to strengthen the Egyptian identity and better capture the cultural influence within the character’s design.
Fig 1.4 Outfit Variation
Dynamic Pose (Splash Art)
Finally, I created a splash art for the character, using a fog-filled atmosphere inspired by Silent Hill to enhance the mood and emphasize a sense of mystery and horror.
Fig 1.5 SplashArt
Final Output
Fig 1.6 Final Output
Project: 1 Digital Sculpting Basics: Skull & Body Mesh
Project 1 (Skull)
Before we start with our task one, we started with learning how to make a skull based of sir Tuan’s example. This exercise is to help us to be more comfortable with using the zbrush.
Fig 2.1 Skull TurnAround
Blocking Stage - Rough Blockout
For this assignment, we are asked to create a rough blockout of our characters. Sir Tuan suggests using multiple subtools for the blockout rather than starting from a single tool. At this stage, the focus isn’t on adding details yet; the blockout is meant to help us visualize the overall form and get a sense of how the character will look.
Fig 2.2 Process of the Rough Blockout
Fig 2.3 Rough Blockout Turnaround
Blocking Stage -Blockout Detail
After completing the rough blockout, we proceeded to the next stage: blockout detailing. This step was essential for refining the character’s muscle structure and overall proportions. We merged the existing subtools and employed brushes such as Build Up Clay, Move, and Dam Standard to sculpt the musculature and define the head.
Fig 2.4 Blockout Detail Process
Fig 2.5 Blockout Detail Turnaround
Character Detailing-Final Detail
After completing the blockout detailing, we moved on to the refinement stage to achieve the final level of detail. This process was carried out to sharpen the features, enhance their prominence, and strengthen the overall structure of the character.
Fig 2.6 Final Detail Process
Fig 2.7 Final Detail Turnaround
Final Output
Fig 2.8 Final Output
Video TurnAround
Project: 2 Outfit & Props Sculpting
Improvement Anatomy
Before proceeding to the outfit stage in Project 1, Sir Tuan pointed out that my anatomy still required improvement, as the proportions were not yet accurate. Therefore, I spent approximately two weeks refining the character’s anatomy before moving on to the outfit design and coloring stages.
Fig 3.1 Anatomy Improvement Turnaround
TurnAround Improvement Video
Afterward, I moved on to Project 2, which focused on props and outfits. Inspired by Egyptian-style desert clothing, I began sculpting the outfit using the Masking and Extract tools, as demonstrated by Sir Tuan.
Fig 3.2 Outfit Variation
I chose the first outfit because it has a minimalist design while still allowing the character’s musculature to remain visible.
MaskFor the mask design, I drew inspiration from the medieval era and intentionally gave it a more intimidating appearance based on the references I studied. In my previous project, the mask lacked sufficient detail and refinement, so in this project I focused on enhancing its level of detail, resulting in a more refined and slightly uncanny mask.
Fig 3.3 Mask Turmaround
Bangles
Drawing inspiration from Egyptian accessories, and considering the character’s background as a former king, I equipped him with gold bangle accessories. These were layered as separate subtools and assigned a gold material, then carved using masking techniques to create engraved patterns inspired by Egyptian design.
Fig 3.4 Bangles Showcase
Shirt
For the shirt, I kept the design relatively simple, opting for a tight-fitting garment that emphasizes the character’s physique.
Fig 3.5 Shirt TurnAround
Skirt
I designed the skirt using a wrapped cloth approach, inspired by burial shrouds and traditional Egyptian textiles. Additionally, I incorporated a scarf-like element draped around the character to further reinforce the Egyptian aesthetic.
Fig 3.6 Skirt TurnAround
Weapon
For the weapon, I drew inspiration from authentic Egyptian weapons, particularly gold axes. I refined the design to achieve a higher level of detail, aiming to create an axe that is nearly as large as the character himself. The weapon is layered with gold and iron materials and features carved Egyptian symbols. Additionally, the upper section is decorated with circular, sketch-like engravings to enhance its visual complexity.
Fig 3.7 Weapon TurnAround
Final Output
Final TurnAround Outfits
Final Project – Complete Character Sculpt
Pose
For the pose, I drew inspiration from Pyramid Head’s stance, adapting it to suit my character. While the overall posture follows a similar structure, I introduced a variation by angling the head downward, which creates a more unsettling and ominous impression.
Fig 4.1 Pose
For the color in the posed model, I further refined the palette, as the initial tones appeared overly brown and did not meet my expectations. I adjusted the colors to achieve a more balanced and slightly more realistic appearance.
Fig 4.2 Mask Refinement TurnAround
For the clothing, I gradually refined the details to make the fabric folds more visible, and I added highlights to enhance depth and visual clarity.
Fig 4.3 Outfit TurnAround Refinement
Final Pose TurnAround
Fig 4.4 Final Pose TurnAround
Concept Art Illustration
After completing the pose, I proceeded to create a concept art illustration for my 3D character. Sir Tuan suggested that we carry out this process using Photoshop.
Initially, I designed the background and positioned the character from a side angle, as if viewed from the player’s perspective.
Fig 5.1 Concept Art trial 1
However, he mentioned that the scene was too dark and that the pose needed some adjustment. I refined the composition by changing the background to a red fog environment and adjusted the angle so that the character appears to be looking upward, with the character’s name displayed in the background.
Fig 5.2 Final Concept Art
Final Concept Art
Once all the tasks were completed, Mr. Tuan asked us to consolidate all of our work into a single PowerPoint presentation.
Experiment
At the beginning of this project, I was genuinely excited to explore 3D digital sculpting, as it was my first experience working in this medium. Previously, my experience was limited to traditional clay sculpting, so transitioning to digital 3D was both challenging and fascinating. Initially, I enjoyed experimenting with different tools and seeing my ideas take shape in a virtual space.
However, as the project progressed, I encountered moments of fatigue and frustration. ZBrush occasionally crashed, and achieving accurate anatomical proportions required meticulous attention to detail. These challenges were mentally taxing at times, but gradually, I became more comfortable with the software and developed a better workflow. Over time, what initially felt stressful became a rewarding learning process as I gained confidence in my sculpting abilities.
Observation
To support my learning, I dedicated time to studying anatomy both digitally and physically. I frequently referred to anatomy books in the Taylor’s library, explored online resources, and watched 3D anatomy tutorials. This consistent practice allowed me to understand muscle structure, body proportions, and how different poses affect the overall form of the character.
Findings
Through this process, I discovered several important insights. I learned that male and female musculature have distinct characteristics, and that body proportions can vary widely depending on age, height, and build. Studying these differences helped me refine my characters to make them more realistic and expressive. I also realized that patience and repeated practice are crucial in 3D sculpting, as small adjustments in anatomy can drastically improve the overall believability of a model.
Overall, this project was a valuable experience that not only strengthened my technical skills but also deepened my understanding of human anatomy and character design. It taught me the importance of observation, research, and perseverance in the creative process.
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