Interview with Julia Marquez: Building Game Ready Props & Efficient UV Workflows
Could you briefly introduce yourself and tell us about your journey into 3D art?
Hello! My name is Julia, and I’m a Prop Artist from Brazil.
I started learning 3D modeling in 2017 and fell in love with the process from my very first experience. As I continued learning and diving deeper into the field, I realized that this was the path I wanted to follow professionally. This passion motivated me to pursue a formal education in the area, which led me to study Animation Design and graduate in 2020.
Shortly after graduating, I started focusing my career on the games industry. Since then, I have been working on different projects as a 3D artist, mainly creating props and assets for games. Throughout this journey, I have continued developing my skills and expanding my knowledge, always looking for new ways to improve my work and grow as an artist.
What first drew you to prop and environment art, and what made you specialize in real-time asset creation for games?
Since I was very young, I’ve always been passionate about games, but I never saw them as a possible career path. At the time, it felt like something very distant, almost like it wasn’t a realistic option. When I started studying 3D modeling, my focus was initially on the animation industry, which has been a more established market in Brazil for several years.
However, when I started working in the field, I realized that it wasn’t exactly what I was looking for. That’s when I began exploring the games industry more and discovered that it was the area I was truly passionate about, which led me to start transitioning my career in that direction.
As for specializing in props and environments, it was a very natural choice for me. I’ve always been drawn to hard-surface assets, modularity, and the process of creating detailed objects and environments. Over time, I realized that this was the type of work I enjoyed the most, which made focusing on real-time asset creation for games a natural progression.
Fantasy Axe
Creating Game Assets
Your portfolio showcases a wide variety of highly detailed props and environment pieces. What do you enjoy most about creating these kinds of assets?
What I enjoy the most about creating props and environment assets is actually the technical side of the process. Retopology and UV unwrapping are some of my favorite stages because I like solving the challenges they present and finding efficient ways to optimize an asset while maintaining its quality. I find that process very satisfying, especially when everything comes together into a clean, well-structured model that’s ready for texturing and implementation.
When starting a new prop, what usually comes first: references, storytelling, technical planning, or visual design?
I always start with extensive research, especially if the prop is something mechanical. I like to understand how it works, how the different parts fit together, and what its overall construction looks like before I start modeling. I always build a reference board with photos from multiple angles, close-ups of individual components, materials, blueprints, and any other useful references I can find. Once I have a solid understanding of the asset, I spend some time planning the technical side of the project, deciding which pieces should be separate, what details can be baked into normal maps, and how I want to approach the asset overall. After that planning phase, I move on to the blocking stage.
Many of your personal projects combine strong artistic direction with production-ready workflows. How do you balance aesthetics and technical efficiency?
I don’t see aesthetics and technical efficiency as separate goals. I always try to achieve the best visual quality possible within the technical constraints of the project. That’s why I spend time planning the asset before modeling, thinking about topology, UVs, texel density, and deciding which details should be modeled versus baked into normal maps. I also make use of workflows like trim sheets, reusable materials, and modular pieces whenever they make sense, as they help keep assets efficient without compromising visual quality. Making these decisions early helps me maintain a good balance between visual quality and performance throughout the entire production process.
Workflow
Could you walk us through your production pipeline, from the initial blockout to the final in-engine asset?
Sure! In a typical production pipeline, I start with a blockout in Blender, establishing the overall proportions and preparing the model for the high-poly stage. From there, I take it into ZBrush to sculpt the high-poly details. Once that’s finished, I bring everything back into Blender to create the game-ready low-poly through retopology, and then I unwrap the UVs and organize the layout in RizomUV. After that, I bake all the necessary maps in Marmoset Toolbag and move into Substance Painter for texturing. Finally, I return to Blender to prepare the asset for the game engine, making any post-bake adjustments, setting up collisions, and ensuring everything is clean and ready for implementation.
Which software plays the biggest role in your workflow today, and how do the different tools complement each other?
As I mentioned in my previous answer, my current workflow involves several different software packages, but Blender definitely plays the biggest role. It’s a very complete tool that I use throughout almost every stage of production, from blockout and retopology to the final engine preparation. One of the things I like most about Blender is how easily it integrates with the rest of my pipeline through add-ons and export tools, making it very smooth to move assets between applications like ZBrush, RizomUV, Marmoset Toolbag, and Substance Painter. I think each software has its own strengths, so I prefer using the best tool for each task while keeping Blender as the central hub of my workflow.
You’ve recently explored workflows using Nanite and trim sheets. How have these technologies changed the way you approach asset creation?
I enjoy staying up to date with new technologies because I see them as an opportunity to expand my knowledge and improve my workflow. Exploring features like Nanite and techniques such as trim sheets has given me a better understanding of different production approaches and when to apply them. For me, continuously exploring new techniques is an important part of growing as an artist and staying adaptable to different pipelines.
90’s TV
Working with RizomUV
At what point in your workflow do you usually switch to RizomUV?
I switch to RizomUV right after finishing the retopology. Once the low-poly mesh is complete, I export it to RizomUV to unwrap and pack the UVs before moving on to the baking stage.
What first made you choose RizomUV for your UV mapping process?
I first started using RizomUV because I wanted a tool that was specialized in UV mapping and could make that part of the workflow faster and more efficient. Over time, it became an essential part of my pipeline because of the level of control it offers and how quickly I can unwrap and pack UVs, especially on more complex assets. Since UV mapping is one of the stages I enjoy the most, having a tool that’s built specifically for that task has made the process both more enjoyable and more productive.
Which RizomUV features have become essential in your day-to-day workflow?
The ease of marking seams and unwrapping UVs is definitely what I like most about RizomUV. I also really like the quality of its unwrap results.Compared to other software I’ve used, I prefer the way RizomUV unfolds the UVs because the results tend to be cleaner and less stretched. Another feature I find very useful is being able to isolate and work on individual UV islands while hiding the others. That makes the process much more practical and efficient, especially when working on more complex assets.
How has RizomUV helped you improve your production speed or the overall quality of your assets?
As I mentioned before, one of RizomUV’s biggest strengths is how easy it is to make changes throughout the UV process. It allows me to quickly test different seam placements, unwrap again, and adjust the layout without slowing down my workflow. That flexibility helps me achieve better results without feeling like I’m wasting time redoing work. I also find it to be a very intuitive and complete piece of software. Even after using it regularly, I’m sure there are still many features I haven’t explored yet, which shows how much functionality it offers.
If another prop artist asked whether RizomUV was worth adding to their pipeline, what would you tell them?
I would definitely recommend it! If UV mapping is a regular part of your workflow, RizomUV can save you a lot of time while giving you more control over the final result. It’s intuitive, efficient, and integrates really well into a game art pipeline.
Fortnite Style Props
Industry & Growth
You recently completed an important chapter at Big Moxi Games. Looking back, what were the biggest lessons you learned during that experience?
My time at Big Moxi Games gave me the opportunity to work alongside incredibly talented artists, and I learned a great deal from collaborating with them and exchanging knowledge and feedback on a daily basis. I also had the chance to contribute to different projects, each with its own pipeline and artistic direction. That experience taught me how to adapt to different production workflows and broadened both my technical and artistic skills, which has had a lasting impact on the way I approach my work today.
How do personal projects help you continue growing as an artist outside of studio production?
Personal projects are a great way for me to keep learning and experimenting outside of studio production. They give me the freedom to explore new techniques, workflows, and software at my own pace, without being limited by the requirements of a specific project. I also see them as an opportunity to challenge myself by trying different approaches and continuously improving my skills. At the same time, personal projects are essential for keeping my portfolio up to date. Since many professional projects are protected by NDAs and can’t be shared publicly, personal work allows me to showcase my current skills, my workflow, and the quality of work I’m capable of delivering.
For artists hoping to break into the games industry as prop or environment artists, what skills do you think are the most important to develop today?
The games industry is full of incredibly talented artists today, so standing out has become more challenging than ever. Because of that, I think it’s important not only to develop strong artistic skills, but also to invest in the technical side of the pipeline. As production pipelines continue to evolve, there’s an increasing focus on the technical side of asset creation. Understanding how to build clean, efficient assets is becoming more and more valuable as studios adopt new technologies and workflows. These technical skills can really set an artist apart. I also think it’s important to showcase that knowledge in your portfolio. Don’t just present the final render! Include breakdowns, wireframes, UV layouts, and explain your workflow. That gives studios a much better understanding of your technical abilities and how you approach asset creation.
Greek Brazier
Looking Ahead
Are you currently working on any personal or professional projects that you’re excited to share?
I’m currently working on a few personal projects for my portfolio. One of my main goals is to continue exploring different workflows and technical approaches while creating high-quality game-ready assets. These projects let me experiment with new tools and techniques that I can later bring into a production environment, so I’m looking forward to sharing them once they’re complete.
Finally, where can readers follow your work and stay up to date with your latest projects?
First of all, I’d like to thank you for the invitation and everyone who took the time to read this interview. I really hope my experience and insights have been helpful in some way. If you’d like to follow my work or connect, you can find me on ArtStation and LinkedIn. Feel free to reach out if you’d like to exchange ideas, talk about game art, or just say hello!