3D Models
3D Print Models
3D Scans
Animation & MoCap
Textures
Materials
Skin Textures
2D Game Assets
Sound Effects
Brushes & Tools
Reference Photos
Stock Images
HDR Images
3ds Max
Maya
Blender
Unreal Engine
Unity
ZBrush
Cinema 4D
LightWave
Marmoset
SketchUp
FBX
DAE
DXF
GLBRoberto Digiglio on Creature and Character Design for Games and CGI
0Article by Filip Radivojevic
We had the opportunity to speak with Roberto Digiglio, a skilled creature and character artist with a strong background in both concept design and 3D production. His work is known for its anatomical accuracy and functional realism, shaped by years of industry experience across roles including art direction. In this interview, Roberto shares his creative approach, influences, and the journey that shaped his career in digital art.
For those unfamiliar with your work, how would you describe your role and creative focus as a creature and character artist?
I specialize in the creation of characters and creatures, both during pre-production (primarily in 3D design) and throughout the actual production process, for video games and CGI projects.
Over the years, I've held a variety of roles, including positions in art and creative direction, which I still cover today. I started out as an old-school 3D artist, which gave me a solid technical foundation on the production side. However, I've always continued to cultivate the design aspect of pre-production, which I feel is more aligned with my sensibilities and ultimately gives me the most creative satisfaction.
From a creative standpoint, especially when it comes to creature design, my approach is rooted in plausibility. Even when designing fantastical beings, I strive for functional (sometimes even scientific) coherence and a sense of realism, often aiming for a photorealistic look. I begin by imagining the context the creature inhabits, analyze its function, and only then move on to visual exploration, starting from very rough concepts and evolving them into full-fledged designs, often supported by fairly developed 3D models.
Working across both concept design and production has led me to develop a personal workflow, one that's practical and better suited to the fast pace of concept work. In the end, my journey isn't too different from that of many other talented artists and designers with hybrid backgrounds.
What first led you into the world of 3D art, and how did your journey as a digital artist take shape over time?
It all started when I was a kid and watched a behind-the-scenes documentary about the special effects of the first Jurassic Park, a film I absolutely loved. It was the first time I heard about CGI explained in a clear and fascinating way, and something just clicked. From that moment on, my life gradually began to revolve around the world of entertainment, eventually narrowing down to the field I work in today.
I began as a self-taught artist at a very young age, with rather clumsy results. I still remember the first time I opened Blender back in the early 2000s, having absolutely no idea what I was doing. I felt like a scientist operating some alien machine, but in reality, I was just clicking through endless rows of cryptic buttons and acronyms.
With the rise of YouTube and the first wave of online tutorials, things finally started to make sense. I discovered Maya, then ZBrush, and that's when I truly fell in love with 3D sculpting. From there, I started taking things seriously and enrolled in dedicated courses: first focusing on general 3D, then specializing in offline rendering, and later in concept design and post-production.
My professional journey led me to take on a variety of roles, including working as a Lighting Artist for video games, 3D Artist for movies and eventually growing into art direction positions. Today, my main focus is creature design, although I'm also the co-founder of a studio that I run together with a few partners, where I serve as Creative Director.
What tools and software are central to your workflow today, and have any become your personal favorites over the years?
Over the years, I've had the chance to try and use a huge variety of software. Some I had to learn for specific tasks, others I explored more deeply over time. In this line of work, staying adaptable and constantly updating your skills is just part of the game.
My relationship with software tends to go through phases. I started modeling with 3ds Max and Maya, although, ironically, my very first experience was with Blender (software I only came to truly appreciate much later on). Early on, I also explored NURBS-based programs like Rhino and Alias.
The tools I switch most frequently are rendering engines. I've tested quite a few, and managed to master a good number of them. Overall, I'd say Arnold is one of my favorites, thanks to its versatility and high quality.. But like many others in the industry, I've been shifting more and more toward real-time solutions. In that regard, Marmoset Toolbag and Unreal Engine have become incredibly effective tools, even for concept design.
I'm also a fan of more niche or specialized tools that are especially useful in production, often for cost-efficiency reasons, such as Topogun or the ever-reliable UVLayout. When it comes to texturing, the Substance ecosystem (and Adobe by extension) has become the industry standard. That said, I've also spent time mastering the trusty old Mari, and before Painter took over, I was a big fan of 3DCoat.
In any case, the heart of my workflow is (and has always been) ZBrush. It's the software I know most intimately, and it's kind of the rockstar of this industry: absolutely essential when working in creature and character art.
Many of your creatures and characters feel both imaginative and believable. What are some of the core influences that help shape your visual style?
I've always been one of those kids fascinated by documentaries and encyclopedias. A love for discovery, knowledge, nature, and by extension, the universe and everything that surrounds us, has always been, in my opinion, the foundation of a strong imagination, one that can be translated into practical ideas. Studying and understanding reality, almost in a scientific sense, is essential for me when it comes to designing believable and coherent creatures (and not only creatures).
As for artistic influences, they are truly countless. Over the years, I've admired (and often tried to absorb) the methods, styles, and approaches of countless artists (too many to name without leaving someone out). Many of them are contemporaries of mine, and one of the most rewarding aspects of growing as an artist is finding yourself exchanging ideas and advice with those same "big names" you once looked up to from afar.
When it comes to deeper, foundational influences, there are a few names that are absolutely essential to me. I'm a huge fan of Wayne Barlowe and Terryl Whitlatch, two figures who had a profound impact on how I perceive and approach design. And of course, I can't leave out giants like Moebius, Beksinski and Giger, true shapers of the visual thinking that has influenced generations of contemporary industry artists. I should also mention legendary icons like Carlo Rambaldi and Stan Winston, who inspired me and made me dream ever since I was a child.
What do you enjoy most about designing creatures, and how do you approach balancing realism with originality?
What I love most about creature design is the study and development of their biological functions. Especially in my personal projects, where I have more creative freedom, I often begin by looking at real mechanisms found in the animal or plant world. I combine these in a coherent way to build a believable functional foundation, already tailored to the type of creature I want to create.
From there, I move into a phase of refinement and research. This can involve books, online documentation, or even real consultations when possible. My sister, for example, is a zoologist and sometimes helps me out.
Once I've defined a plausible structure, the more imaginative part begins, which is the visual design itself.
Even though I aim to stay consistent with anatomy, behavior, diet, and environment, this is where I let creativity take over. I introduce elements that may not be entirely realistic but that give the creature personality and charm.
In nature, life tends to favor maximum efficiency, which often results in forms that are less striking than those seen in films or video games. The goal is to find the right balance: to create something that feels credible while still having the power to amaze.
When building a character or creature from scratch, what part of the process do you find the most creatively fulfilling?
As I mentioned earlier, I find the phase where I get to design biological mechanics in a scientifically plausible way extremely fulfilling.
That said, if we focus more on the practical side of my workflow, my absolute favorite moment is the detailing stage during advanced sculpting. It becomes almost meditative. Over time, you develop a kind of muscle memory so that you instinctively know where to place folds, tensions, and tiny marks that make a surface feel alive and believable. It is the most relaxing part of the process for me because by then all the structural problems have been solved and I can simply let go and enjoy the flow.
At the same time, I am fully aware that this kind of familiarity can become a trap. Like many artists, as you refine your techniques you tend to repeat them, and this can dull the drive to explore new territory, especially when it comes to detailing. As a result, even unintentionally, you start developing a highly recognizable style. On one hand, that is a strength because it builds identity. On the other hand, it can become a limitation when you need to adapt to very different visual languages.
Another phase I really enjoy is texturing, probably for a similar reason. It is another stage where every detail truly matters. And maybe it is also because I am a bit of a perfectionist. That is where I feel I can push the creature's expressiveness further, adding depth and narrative to every surface.
Are there any upcoming projects, personal or professional, that you're particularly excited to share or develop further?
As often happens, I'm working on a huge number of projects at the same time; mostly professional, but quite a few personal ones as well. I have to admit, unfortunately, that I rarely get the chance to share what I'm working on. Especially during the pre-production phase, everything tends to stay under wraps for a very long time, and in many cases, I've never actually been granted permission to make things public. (Though, I'll confess, I sometimes fool myself into thinking that big productions might forget old agreements... and maybe I'll sneak in an unused concept or two. Just kidding. Probably.)
As for personal projects, I have an overwhelming number of them tucked away in my hard drives, and who knows if I'll ever manage to finish them all. Some are quite ambitious; like collections, books, larger undertakings I truly hope to bring to life someday. Hopefully, I'll manage to do so someday... ideally before I'm gone.
As an artist, how do you continue to challenge yourself and evolve creatively in such a competitive and fast-moving field?
Exactly, it is a constantly evolving field, and now more than ever, these changes are happening at an astonishing pace. Until a few years ago, I would have said that staying constantly updated was the key, but now it is no longer sufficient. New technologies, especially those related to generative AI, are reshaping many dynamics of this field and beyond, particularly from a professional perspective.
Running a studio that also needs to be financially sustainable, I often find myself discussing with my partners not only as an artist, but also as an entrepreneur. We are in a somewhat chaotic and transitional phase, where the human element of art still plays a central role. However, it is clear that the landscape, at least in terms of commercial production, is changing quickly.
It is a different matter when it comes to personal art. When I work on my own creatures, for example, the human aspect remains and will remain essential. I enjoy integrating modern tools and I always will, but without giving up the pleasure of creating physically or digitally through my own sensitivity. After all, if everything came down to simply describing what you want to make, where would the fun be?
Follow Roberto Digiglio on ArtStation, LinkedIn, and Instagram to see more of his incredible work.
