Matthew Dizon - Sketchbook

Worked on Leather Torso Belt Apparel

Modelled and UV in Blender, then textured in Substance Painter.
Marmoset Toolbag for the Rendering

Fixed the silhouette more to use basic shapes and anatomy.

Next Up is to work on the hair!

Using Paths and Bevel Curves I will make the hair. In addition I’ll use normally sculpted masses to assist increasing the volume of the hair.

Paths and curves will be for the smaller and intricate strands.

Most importantly I need to make a plan of the strands, there is logic behind hair as explained by YanSculpts.


Sculpted the base structure of the hair I will use to follow the paths

Using this tutorial:

I made the medium and intricate layers of the hair from just the base strands.


Converted to polygons with low res. The Topology is actually decent, I shall stick to it. I just had to decrease the Path and Circle Res.

Apparel Time!

Futaba Sakura Fan Art Sculpting Phase Done

1 Like

Retopo progress of Futaba Fan Art

Still Retopologising Futaba

I’m nearly there, progress is slow, really slow, I am taking forever… ah well.
Some addons I might next time when retopologising in another project would be

  1. SpeedRetopo(free)
  2. Mira Tools (free)
  3. Retopoflow (free on github or paid on blender market)

I decided not to use Retopoflow because it was still in Alpha for Blender 2.8.

Decided to add some extra mesh details for the fur, rag, and other extras.

Royal Courtyard Floor Decor

Decided to make a decor object for my upcoming Garthos idea (Royal Palace courtyard environment). It is a clock on the floor.

In the past month I have finished retopologising Futaba Sakura, then UV Mapped her.

During this phase, I’ve had new ideas on how to present the end result, at first I just wanted to create additional fan art into her (Aloy from Horizon and then D.Va from Overwatch) but then I’ve decided to change the route to making a Live 3D Wallpaper on Sketchfab, just the pure concept of Futaba Sakura and no additionals, something like you’d see in the League of Legends login.
So I got to working on the environment around her. I’ve heavily planned this all to fit the 50mb free user limit of sketchfab, hopefully I won’t pass it and still retain good quality. I’ve made sure I’m mirroring UV spaces and giving the important pieces more space.

Now to the Texturing phase!
First off I’ve baked Futaba in Substance with her high poly. This is the result.


Something went wrong, her leg details did bake properly.
For the next week I aim to complete the environment texturing, then start Futaba’s texturing.

As a side sculpt I also made this

Imported into Substance Painter and baked the maps

Shoved quick textures

Shoved in more quick textures


… it is a light show…

Next, I’ll go back to Blender, re-organise everything then fix the colours to work together.

I need to work on perfectionism, I shouldn’t waste anytime on colours, kept going back and forth on choosing colours, but I can’t see the full layout yet. The level hasn’t been created and I’m just trying to figure out if 2 objects will go well together with a colour palette plan. But definitely should just quickly place the colours and not care until everything is all laid out.

Afterwards I’ll get onto texturing Futaba.
Which I fixed the baking issue from last time, turns out it was because I left the body and clothes non-selectable which excluded it from the high poly export.


Finished the Environment layout, next will need to change the materials and colours until I feel like it blends well together.


Started texturing Futaba in her Base Materials.

I’ll be taking a break from the texturing phase for now and I’m just going to work on learning how to Rig and Animate in Blender. I’ll use Futaba as the starting point for the Blender Rigging.

Learning how to Rig

Will continue with hair bones, facial etc and get onto weight painting.

Then will get back to the texturing

Been using this holy grail of a tutorial to help me

Already knew rigging and animation from Maya but Blender is new to me

Thinking of getting into 3D Printing and just decided to make a Chinchila like figure.

Issues I’ve had is the topology working with Boolean and my worries for the 3D print. I mucked around with the Quadriflow retopo in blender but it would decrease the quality of the pedestal edges. The issue is I’m focused on creating a low and high poly in this work flow, to improve the texturing process. My plan was to use the height map from substance painter and apply to a displacement modifier and apply. Next time I’ll show focus purely on the sculpt and work with simpler designs.

Textured more of Futaba Fanart, currently in the base pass (1/4).

Textured the head. The hair is hard to texture.

Learnt how to implement Anisotrophy in Substance Painter, using this tutorial:

Added Anisotrophy to the hair, looks better now. The hair is glossier.

Things to improve would be to avoid seams in the hair. In the outside, I have seams all over, I thought I could have them all covered up with the tiled anisotrophy texturing. It’s very easy to see when zoomed in, will have to add hair strands in the future to cover them up.

Will continue with more Futaba Texturing and will get into ‘Chincha’ texturing.

More Texturing for Futaba Fanart.

Been changing lighting environments for each iteration to find issues with roughness values. I still need to refine the face in that end.

I need to refine the pants a bit more with the linings and structure. Folds need more improving (need to be a tad bit deeper and groin area doesn’t feel right). Then the face which I’ll be adding pores, oil, skin blush, red tints, subtle make up, very subtle wrinkles and eye lid folds. Then there’s the hair (subtle improvements) and Goggles (plain material just makes it look boring so I’ll need to add some more materials or something)

Taking a Hiatus from the Futaba Fan Art project.

Current progress


Next is to refine Goggles and Face.
Then see what I could do with the hair perhaps?
and then finally with the Wear and Tear Pass

In the smaller Chincha Project


I’ve been so confused with Texture style, but I figure Pokemon style (block colours) and the use of the Curvature Generator would make things easier.
I reckon if I keep the pedestal, I can make it a little more stylised with some overlay water painting.
The colour scheme of Chincha, might need a little tweaking, maybe white fur instead and different curvature line colour.

Trying to figure out Colouring:

Iteration 1:

Iteration 2:

Iteration 3:

I find iteration 3 to be daring with its fluorescent coat and the contrasting warmer skin coat… That’s my favourite for now

Decided to go back to this colour. Almost done with making this 3D Printable.

I’ve just learnt how to use my Balco 3D Printer Touch/ Wanhao Duplicator i3 Plus.

After learning how to create stuff, I’ve accepted a request from a friend to make a microphone attachment, that will create a reverb effect. Prototype, was almost successful, however it didn’t create the desired reverb effect because the shape needs to be a little differencet so will have to go back to drawing board on design.

Through this experience I’ve learnt how to work with Measurement sensitive modelling and learnt how to use the Blender 3D Print Addon.

I’ve also heavily used the ‘Measure It’ Addon in Blender for all the meaasurings. Then learnt how to use Cura for slicing.

Resources used to help me:



For future research on Character 3D Printing, Thomas Roussel’s videos really answers a lot of confusion I had with character prints.


Been working Staff Asset for Esper

Will continue to texture more in detail this week and also aiming to make Chincha 3D Printable.

Finished the Garthosian Staff for Esper

I found it difficult to bring out the Staff during the render, definitely rendering this can be done better.

Now, back to Chincha, I’ve sliced it in Cura and gon prototype a 3D print.
A terrible mistake I’ve found in this new workflow is the Substance Painter Auto UV Map, I thought it would improve my speed, but I forgot to re-import back to blender, and did all the 3D Print Addon stuff to make it good for 3D print only to find out I worked on the wrong mesh.
The biggest flaw was the triangulated export from Substance Painter, I lost the ability to smoothen nicely.

Now why would I want to texture this in Substance Painter…a 3D Print? Because I want to upload to Shapeways with the Sandstone Material, https://www.shapeways.com/materials/sandstone

I used the PBR texturing in Substance Painter, the trick was to combine all the maps into a single colour map. Which I’ve done by fusing the R-Channel of the Normal map (which is grey map) into the Albedo. I used the Hard Light blend mode to bring out the normal details. Then I used the AO (multiply blend), Roughness (overlay), Metallic (overlay). I didn’t add the height map, but next time I can overlay and decrease the transparency a lot, then do some lighting tweak because all the maps would have lightened the texture too much. This was the result after all that combining.

Screenshot from Blender, with Combined Textures

Substance Painter Render

It is very close, although the texture for the creature was pretty much flat, but the High to Low Poly normal map bake shows very well.

3D Printed Chincha (Balco 3D Printer Touch / Wanhao i3 Duplicator Plus)

For the next couple of weeks, I’ll meditatively sand and smooth him to a gloss white finish within a more loose time frame.

3D Print Project - Headset Stand


Finally got started, almost done too. Just need to create the intrudes for where the connection goes, my concern is the wall thickness will follow below 0.1mm limit when I intrude the walls. I may need to thicken the model if that’s the case.

Futaba Texturing

Worked more on her pants logic details and the goggles. Decided to make it matte black and not a steel reflective look.


Just need to work on the face and then add a subtle wear and tear pass.
Then I should improve her hair + uvs and stuff back in blender