Jeongho Shin is 3D Game Character Design Artist. He works for the past 15 years in the games industry and his workflow includes ZBrush, 3dsmax, Toolbag, and more. His main work used to be environmental artwork, but now he is focused towards creation of characters. His works include titles such as C9, Tera, ArchLord, and Kingdom Under Fire 2.
Jeongho Shin studied all by himself, but for a 6 months program in 2001 that was government- funded and in 2017 a month in a private institution. Jeongho Shin continues with the artistic beauty in each piece and adds to as many a possible unique characteristics. He believes he has to learn and study a lot more and is putting more efforts aiming to give the best of his characters for people to enjoy.
As he works on the character BaseBody, he uses fashion models for reference than anatomy. It is not easy to tell the exact proportion and size for perfect bodies. It depends on the, outfit, hairstyle, territories, trend, and personal taste. It also differs with the camera angles. It is the reason Jeongho Shin, the character design artist takes numerous references each time he tries making a character. He uses online shopping malls fashion models as they give various proportions and postures, while they keep changing as per the public trends and interest.
Speaking about his workflow, Jeongho Shin uses 3ds Max from the beginning to completion. He also uses Editable Poly to frame the basic shape and edits it as required. He uses ZBrush for wrinkles to appear on the fabric, for the muscles, and to edit the mesh for pose changes.
Once the basic shape completes in 3ds Max, Jeongho Shin starts with ZBrush to work on the details. He used it low poly and on low-divide. For the Basebody low poly, he uses the Topology function of ZBrush creating normal texture that allows checking each detail and applying low poly.
As he is working on 3D characters, avoiding the effect of Uncanny valley is helpful. He expresses and passes the personality and emotion of the character that is important. It is the reason he makes so many references than anatomy. He uses the function of Face Morph and keeps a natural face expression to his best.
He does not make use of any extra plug-ins for the character hair. He just works on the hair using 3ds Max’s Editable Poly. He mostly makes use of the Marmoset’s Anisotropic for hair shading. He uses in 3dsMax the UVs and gives a lot of importance to the colors in comparison to the textures. He uses Photoshop for the fabric textures and the skin. For skin shader, he makes use in Marmoset the Subsurface Scatter function and Substance Painter for the leathers and metal painting only.
Jeongho Shin makes use of stockings for particular pieces and Photoshop for some to add work on the texture. He adds to the skin on layer on the top and uses dark color in association with Multiply. He later on applies nearly 50 – 75% opacity. It allows him to get the same look as though one is wearing real stockings. The glossiness is spectacular and the textures replicate the same style.
He widely makes use of Marmoset most times. Jeongho Shin strongly believes his strength to be Marmoset as it is a real-time render offering high-quality results. He allows edits to apply and to check them instantly. He just does not complete his art, he takes considerable time in revising and correction a lot of the natural poses and the aim is to give the best output in this process. Optimizing all that is possible is the desire.
Jeongho Shin dedication towards the 3d character design is matchless. He takes pain and puts a lot of effort in giving his best with each body part, whether it is hair, face or fabric. He gives equal importance to all the details and ensures the final result is the best and there is no room for any mistake. He works thoroughly, notes each point, and uses Photoshop, ZBrush, and many more tools to bring out the fulfillment in his art character. Keep going through for more information on Jeongho Shin artworks.