Dive into the creative world of Scarlett Brooks and her journey of crafting iconic characters in Diablo IV.

Discover how her background in fashion design and expertise with Marvelous Designer brought unique and personal touches to the game's armor sets.

Interview with Scarlett Brooks | 3D Artist

Can you share a bit about yourself and your journey as an artist?

Hello!

My name is Scarlett Brooks and I was one of the Blizzard 3D artists who worked on DiabloIV. My passion for art started at a young age—before I could even hold a pencil properly, I was already sketching monsters and dreaming up unique clothing designs. Despite my parents' initial reservations, I followed my heart and chose to pursue a career in the creative world, ultimately earning my degree in fashion design.

The variety of characters in Diablo IV is fascinating. Which character was your favorite to work on, and why?

During my time on Diablo IV, I primarily worked on the Necromancer and Sorceress characters. However, the most meaningful armor set I crafted was the "Herald of Pestilence." The concept, created by the incredibly talented Elena Danilova, really resonated with me because it offered the chance to introduce something visually distinct to the world of Sanctuary.

If you take a closer look, you'll notice a small but personal detail: within the little cage on the hip, there's a sculpt of my chinchilla, who passed away around that time. It was my way of honoring his memory and, in a sense, immortalizing him within the game.

Could you highlight some of the iconic characters that were brought to life using Marvelous Designer?

All of the armor sets I worked on were created with the help of Marvelous Designer. If I had to highlight a couple more that really stand out, it would be the "Glory of Yshari" armor and "Reign of Solitude." Both were incredibly rewarding to bring to life!

What led you to incorporate Marvelous Designer into your workflow, and how did it support the art direction for your projects?

(Jokingly) With my background in fashion design, I may or may not have subtly encouraged the rest of the game pipeline to revolve around using Marvelous Designer. Honestly, I think I was hired for my Marvelous Designer skills, which is why I ended up with all the projects featuring those precious-looking fabrics with lots of folds, twists, and bunching. Sculpting cloth by hand can be tedious, and let’s face it, it doesn’t always turn out as realistic as we'd like!.

Can you give us a quick overview of the different tools used in your pipeline?

I’ve always enjoyed creating patterns, and Marvelous Designer, with all its amazing tools, really allows me to bring that passion to life. For me, it’s all about crafting a clean design in the 2D viewport that simulates exactly what I envision. The ability to work with symmetrical patterns is such a time-saver—it lets me focus on creativity while saving hours in the process!

What tips do you have for other artists using Marvelous Designer in game development?

If you’re struggling with creating patterns, try thinking of each piece as a UV island. Consider how and where you’d curve a loop, the edge flow that would best emphasize the shapes you’re aiming for, and always keep the grain direction in mind when manipulating folds. It’s all about approaching the design with the same level of attention you’d give to a 3D model’s surface flow.

How can you describe your overall experience of the use of the Marvelous Designer?

Marvelous Designer is definitely my favorite part of the pipeline. There’s so much flexibility—it feels like there are a million different ways to achieve great results. The possibilities are endless, and that’s what makes it so exciting to work with.