3D modeling allows the creation of three-dimensional objects on a computer. Not long ago, modeling was primarily polygonal, a long, technical, and tedious process with certain limitations, such as handling millions of polygons. With software like ZBrush, we can now bypass these polygon constraints and focus on the artistic aspects, unleashing our wildest imaginations. ZBrush brings us closer to traditional sculpting.

Organic Modeling

For all our organic modeling, such as characters or animals, we start and primarily work in ZBrush. Using 2D model sheets, we create initial 3D sculpting sketches, which we refine and detail progressively.

Once our sculpture is complete and approved, we convert it into a polygonal model to animate in our animation software, a process known as retopology. Our rigging expertise is invaluable here, ensuring we create a perfect mesh for animation.

UV Unwrapping

To transfer all our sculpted details from ZBrush, we need to unwrap the UVs of our model. This process flattens our model like an origami, allowing us to apply 2D images to our object. The UVs determine how to “fold” these textures to match the 3D object. This step enables us to export detailed maps (displacement maps, normal maps, etc.) directly from ZBrush, allowing us to retain all the sculpted details on our polygonal model, which can then be animated.

An Alternative Method

In some projects, the modeling process differs. For product-related projects, technical models are often created beforehand for product construction. We can use these technical models as a base for our polygonal modeling. The retopology step is then applied to these technical models rather than an organic model from ZBrush.


After modeling, we have a smooth, colorless 3D object. Texturing involves recreating the colors and textures that characterize our object. Like a painter coloring a sculpture, we use software like Substance Painter or Photoshop to color and add texture to our 3D object. This step requires a keen sense of color and observation.

For example, a face covered in tattoos involves detailed texturing to replicate the tattoos and skin textures accurately.


Shading enhances the texturing work. It involves adjusting how our object reacts to light and its environment. Is the object more transparent or opaque? Is it more reflective or matte? How does it absorb and reflect light? These are the aspects we fine-tune during shading.

Rendering and Compositing

The final 3D step is rendering. We place lights, cameras, and an environment, and like a photographer, we find the best photographic settings to make our image credible and beautiful according to the director’s vision. The computers then calculate these settings.

Compositing is the culmination of this process. Through final 2D image adjustments, we highlight all the work done previously and finalize our image.

Here is one of our creations, from raw 3D to the final composited image.