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Creating a Character for Games: Vol. 2

A Workshop
by Omid Moradi

Making a Fully Textured, Game-Ready Character with Omid Moradi

intermediate
7h 53m 23s
20 Lessons
A Workshop
by Omid Moradi
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Following on from Creating a Character for Games: Vol. 1, this second volume walks through the entire process of transforming the final ZBrush sculpt into a fully textured, game-ready character using ZBrush, Maya, Substance Painter, Marmoset Toolbag, and Photoshop. Created for mid-level and senior character artists with prior experience in 3D character creation, this 8-hour workshop aims to advance artists’ expertise and refine their overall approach.


With an emphasis on the importance of carefully executed steps of the character pipeline, Omid demonstrates how to retopologize a ZBrush sculpt to create a game-resolution version. He details how to unwrap UVs, bake maps, texture the model, and render it for the final presentation. Omid covers in detail how to texture various materials and set up shaders to render characters effectively. Additionally, he explores techniques that will help artists anticipate and prevent common issues using industry-standard practices.


By completing this workshop, artists will have insights into breaking down complex sculpts into manageable components for efficient retopology while maintaining high-quality standards.


Assets utilized by Omid in this workshop include 3D Scanstore’s Animation Ready Body Scan (Male 02) for the hands and feet and Texturing XYZ’s Tsoy Face 58 for the face.


Be sure to watch Creating a Character for Games: Vol. 1 by Omid Moradi to get started with your game-character creation journey.

20 Lessons

01DecimationFree

Omid Moradi's workshop on character retopology explains that the decimation phase, while tedious, is essential preparation for success. By reducing a high-resolution sculpt down to a few million triangles, artists can work efficiently in Maya without performance issues. Proper preparation includes handling layered geometry and preserving details to set a strong foundation for the technical work to come.

Duration: 8m 10s

Decimation
02Maya Retopology tools

Omid highlights that artists should learn the software's base tools rather than relying on add-ons, ensuring artists can work effectively in any production environment. The combination of Quad Draw and Multi-Cut, along with history management and the cylinder-wrapping technique, provides a complete workflow for retopologizing complex organic characters efficiently.

Duration: 38m 10s

Maya Retopology tools
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03Retopologizing the Shirt & Jacket

Effective retopology requires balancing multiple technical considerations: capturing essential shapes, keeping clean edge flow, and planning for UV unwrapping. By starting with simple base geometry and progressively refining, artists can create optimized meshes that look accurate and perform well. With experience, Omid demonstrates how these decisions become automatic, allowing a focus on efficiently translating high-resolution sculpts into production-ready assets.

Duration: 17m 15s

Retopologizing the Shirt & Jacket
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04Retopologizing the Shoulder Pad

The main lesson is that "clean" topology doesn't mean geometrically perfect; rather, it preserves the essential edge flows for deformation. Artists learn that understanding when to manually control geometry decisions, particularly triangulation, leads to more predictable and reliable results in the game engine.

Duration: 10m 45s

Retopologizing the Shoulder Pad
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05Retopologizing the Wraparound

Successful low-poly retopology requires strategic planning and consistency rather than perfection everywhere. Omid shows that by establishing clean base topology with proper edge flow first, artists can create game-ready meshes that deform properly and bake cleanly. This emphasis on matching topology between layered garments demonstrates a high level of professional production awareness.

Duration: 16m 59s

Retopologizing the Wraparound
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06Retopologizing the Skirt

This lesson explains how to create game-ready meshes that balance detail with efficient polygon use. Artists learn smart workflows, such as using normal map baking for fine details and strategic geometry removal on hidden areas. This approach emphasizes flexibility and a willingness to revisit decisions after baking tests to ensure optimized meshes for real-time rendering.

Duration: 10m 35s

Retopologizing the Skirt
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07Retopologizing the Legs

Omid shows that cleaning up a ZBrush-generated base mesh can sometimes be more challenging than starting from scratch, but persistence produces clean results. The critical takeaway is maintaining flexibility and knowing when to use triangles strategically rather than forcing pure quad topology.

Duration: 14m 59s

Retopologizing the Legs
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08Retopologizing the Hands

Retopologizing a hand requires a workflow that prioritizes consistency, efficiency, and deformation quality. Artists learn that the entire hand can be completed quickly using a systematic method compared to less organized approaches. By treating the anatomy geometrically, the result is production-ready topology that deforms well and is easy to texture.

Duration: 14m 27s

Retopologizing the Hands
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09Retopologizing the Head

To achieve proper facial topology, artists must understand facial anatomy as a whole, with muscle structure directly informing edge loop placement. Omid systematically establishes key anatomical features first to create topology that deforms naturally during animation.

Duration: 32m 32s

Retopologizing the Head
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10Retopologizing the Accessories

Retopologizing static meshes is the most straightforward type of retopology work since it eliminates the complexity of animation concerns. Artists learn to invest time in clean base meshes during high-poly modeling to save significant time later. Balancing efficiency with quality ensures proper mesh behavior and enhances visual quality through better normal map baking.

Duration: 13m 21s

Retopologizing the Accessories
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11Retopologizing the Scarf

Omid demonstrates that different parts of a model warrant different levels of detail based on their importance to the final presentation. By planning UV seams and maintaining clean edge flow, the retopology process creates an optimized low-poly model. This ensures the mesh will deform well and bake cleanly while preserving the important visual details of the original sculpt.

Duration: 17m 12s

Retopologizing the Scarf
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12Retopologizing the Turban

When retopology is planned around major forms, the resulting topology supports subdivision and additional detail. Artists explore how this method produces superior results for high-budget assets by capturing realistic shadows. Omid emphasizes that learning improved techniques even after project completion helps refine future workflows.

Duration: 7m 34s

Retopologizing the Turban
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13Maya UV Unwrapping Tools

In this lesson, Omid demonstrates a strategy of establishing texel-density standards early, ensuring efficient use of texture space while maintaining visual quality. Artists discover that a systematic approach to UV preparation provides a solid foundation for subsequent texturing and baking in character creation.

Duration: 40m 47s

Maya UV Unwrapping Tools
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14Baking Preparation

Thoughtful planning in the pre-texturing phase significantly impacts the final quality and efficiency of the texturing process. Omid varies texel density based on camera visibility and uses organized material groups to create an optimized foundation in Substance Painter. Breaking complex assets into manageable pieces reflects professional production practices that balance quality with technical performance.

Duration: 24m 38s

Baking Preparation
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15Baking Maps in Substance Painter

In this lesson, artists will learn a professional workflow for baking texture maps entirely within Substance Painter. A dual-baking technique for resolving ray distance conflicts offers a practical solution to common problems, especially with complex overlapping geometry. By understanding map generation dependencies, artists can achieve clean, production-quality bakes while maintaining full control.

Duration: 35m 28s

Baking Maps in Substance Painter
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16Texture Blockout

The texture blockout stage is a critical step for establishing a solid foundation that makes the entire process more efficient. Omid shows that by investing time upfront, artists can avoid troubleshooting later and maintain better control. These organizational best practices accumulate to create significantly better final results without requiring overly complex skills.

Duration: 28m 39s

Texture Blockout
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17Making Chains, Coins & Tassels

In this lesson, Omid Moradi shows a practical approach to creating detailed character accessories for cinematic models. The workflow emphasizes reusability through variations and efficient UV management. While acknowledging that some techniques could be optimized further, the willingness to share alternative, lower-budget approaches makes this a valuable real-world lesson for artists working on high-fidelity models.

Duration: 30m 20s

Making Chains, Coins & Tassels
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18Final Texturing - Part 1

This lesson highlights that professional texturing results from layering simple techniques rather than complex tricks. Artists learn to use sharp masks at subtle intensities and consider real-world material behavior to create lived-in characters. The core idea is building richness through multiple subtle layers that work together to create a convincing result.

Duration: 35m 2s

Final Texturing - Part 1
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19Final Texturing - Part 2

Omid demonstrates how to build custom layered materials that leverage sculpted detail while maintaining flexibility. Rather than relying on presets, masks are constructed by analyzing available map information. Early and frequent testing in the target render engine is prioritized to reveal adjustments not apparent in the viewport alone.

Duration: 29m 44s

Final Texturing - Part 2
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20Final Rendering

The main lesson in this workshop is that creating exceptional 3D characters requires patience, iteration, and attention to storytelling. Artists are encouraged to revisit and refine earlier stages as new insights emerge later in the process. Moradi explains that great art reveals more interesting details the longer it is studied, requiring a willingness to step away and return with fresh eyes. Developing artistic judgment for color and composition comes through dedicated practice.

Duration: 46m 46s

Final Rendering
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Primary tools

For this workshop you’ll need:

Substance Painter
Marmoset Toolbag
Maya
ZBrush
Photoshop

* Note that these programs and materials will not be supplied with the course.

Project Files

When you download the workshop files, you'll get access to Omid Moradi's text file, which contains links to guide you through the process:


  • Reference materials (.txt) – Omid's text file includes all the links needed to help guide you through his workflow
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OMO02_Project_files.zip
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Skills Covered

Who’s this Workshop for?

This workshop is structured for mid-level and senior character artists with established 3D character creation experience. Artists working in game development studios, freelance character specialists, and digital artists looking to refine their production pipeline skills will find this content most valuable.


Junior artists with foundational ZBrush knowledge and aspiring game developers who are also seeking to advance their technical expertise will benefit significantly from this workshop. The comprehensive approach to industry-standard workflows provides essential insights for anyone serious about professional character development and production-ready asset creation.

Learning Outcomes

By finishing this workshop, artists will have advanced technical skills for transforming high-resolution sculpts into optimized, game-ready characters using industry-standard tools and workflows.


Key skills include:

  • How to retopologize complex ZBrush sculpts while maintaining high-quality standards and efficient topology flow.
  • How to create clean UV layouts and unwrapping strategies for game-resolution character models.
  • How to bake high-resolution detail maps from sculpts to low-resolution game meshes effectively.
  • How to texture various materials and surface types using Substance Painter for realistic character finishes.
  • How to set up professional shaders and rendering workflows in Marmoset Toolbag for presentation.
  • How to anticipate and prevent common pipeline issues using proven industry-standard practices and techniques.
  • How to break down complex character sculpts into manageable components for streamlined production workflows.
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Workshop
Creating a Character for Games: Vol. 2
Making a Fully Textured, Game-Ready Character with Omid Moradi
A Workshop by Omid MoradiLead Character & Creature Artist / Sculptor
intermediate
7h 53m
20 Lessons
Instructor Omid MoradiLead Character & Creature Artist / Sculptor

Omid Moradi is a Lead Character Artist at Blizzard Entertainment, specializing in bringing 2D designs to life as fully realized 3D characters and creatures.


Growing up with artist parents, Omid began seriously pursuing art and 3D at age eleven. Inspired by behind-the-scenes footage of The Lord of the Rings, he devoted years to self-directed practice, earning his first full-time role as a 3D character artist in advertising at just eighteen.


Over a career spanning more than fifteen years, Omid has worked across video games, cinematics, and film, contributing to iconic franchises including Diablo, Halo, Batman, Transformers, Gears of War, Magic: The Gathering, Hellblade II, Dead Island, Valorant, The Wheel of Time, and the live-action The Little Mermaid.


Known for his technical expertise and creative vision, Omid combines deep artistic skill with leadership, guiding teams to transform concept art into immersive, high-quality characters and creatures.

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