Custom Characters

Custom Characters

You can import custom meshes to create everything from NPCs to an animated cloth of a sail boat. We used the custom setting of the articles/using avatar importer|Avatar Importer to bring in more exotic custom characters, like the mysterious black hole creatures and the friendly, if unaware, service droids.

The following sections go over how we used skinning, PBR (surface appearance), and VFX to build one of our more complicated characters that we named the “Creature.” We wanted it to glow, emit some light, have trails of particle smoke, and a fluid motion that involved skinning a rig with enough joints to create the convincing waves of its tentacles.


When we were rigging the Creature, we found it best to model the character in a neutral pose, because that pose is best suited to bending in multiple directions. If we modeled the Creature with its tentacles already curled, it would have led to stretching if we animated the tentacles to bend in the opposite direction. The following screenshots show the Creature in its natural state:



From a neutral pose, we added joints economically, focusing on the areas that needed the most movement. The fewer joints the better, because you'll have to manage them when skinning your character, and you’ll have less to control when you animate them. In the previous screenshots, the Creature looks like it has a lot of joints in the center, but the main body only has one joint.

Most of the other joints are towards the tentacles and mandibles. With the tentacles, we wanted a lot of secondary motion, or motion that is layered, to create a convincing effect that they’re all moving on their own. However, the center mass of tentacles were so close together that it felt wasteful to make joints for all of them, both on performance and effort to animate. So instead, we treated the center mass as a single large tentacle with smaller “tails” where the tips left the center mass.


We found the following guidelines useful, so that the character mesh imports correctly into Studio:

  • Individual joints and bones must have unique names.
  • Meshes must not have the same name as joints and bones.
  • Meshes should have no transforms prior to skinning/binding; in other words, transforms should be 0 and scales should be 1.
  • Mesh normals should face outward (the model shouldn’t look inside-out).
  • Skeletons shouldn’t have any scale factor; all joints should be [1, 1, 1].


When we finished the Creature’s skeleton, the next step was to skin the mesh. Skinning can be an arduous task, so to make matters easier, it’s best to be familiar with the different initial skinning settings of your DCC application to find the one you like.

Since this is an organic character, we skinned it with plenty of falloff on each joint and overlap between them. This way, the bending feels smooth and not sharp. The following screenshots show bad skinning and smooth skinning respectively:

Bad Skinning
Smooth Skinning

We found the following guidelines produced the best outcomes for skinning:

  • Skinning influences (meaning they affect a part of the model when moved) should be a maximum of 4 influences per vertex.
  • Joint and mesh names need to be unique, both within each other and between each other.
  • Any joint you want to import into Studio must have some influence on the model’s skinning, otherwise the engine doesn’t import it.
  • Whenever possible, skin your model in its original or “bind” pose.

Importing the Mesh to Studio

Importing your custom characters into Studio is one of the more exciting parts of the process, because you get to see your creations in the experience you’re building!

To import the mesh into Studio:

  1. Export the character from the DCC application and ensure the following:

    • All normals, scales, and names are correct.
    • The character has all joint and bone hierarchy and all meshes.
    • Meshes are all under 10,000 triangles for each part of the mesh.
    • Mesh total size isn’t over 2000 units in any axis.
DCC Application
  1. In the articles/using avatar importer|Avatar Importer, click the Custom item, which allows you to import an arbitrary number of joints and meshes.
Imported to Studio

Making the Creature Glow

Once the Creature’s model was stable and didn’t require any more immediate import into Studio, we started putting together the SurfaceAppearance objects, lights, and visual effects. We did this to ensure that the quality of the model was good enough before proceeding to place and edit any one aspect of it.

We knew we wanted the Creature to be dark, and the focal points to be the eyes and its “grabby” tentacles. High points of contrast tend to attract attention, so having a few strong ones ensure the viewer knows what to focus on. Studio supports neon materials that self-illuminate, so early on we separated the eyes out so they could be their own material from the rest of the character. We did something similar for the tentacles, so they would glow on their tips only.

Neon material doesn’t emit actual light, so after some testing, we added separate parts to control placement and direction of light emission. This ensured the lighting was directed in a manner to enhance the glow of the eyes and also project its own source of light.

Notice that the SpotLight|SpotLights add visual flare to the Creature close to other surfaces or a player.

In addition, we wanted the Creature’s tentacles to emit some particles, so it would leave behind a smoke trail when it moved. Because the tentacles are very long, adding the ParticleEmitter to the entire tentacle would make the particles emit from the entire tentacle instead of the tip. To combat this, we used a small part positioned near the end of the tentacle, so we could control the emission size, placement, and direction of the particles.

Making the VFX Follow the Character

The skinned character’s mesh positions aren’t updated when the Creature animates, so we needed a method to make sure the VFX, SFX, and lights all followed the Creature properly. To accomplish this, we created a VFX controller script and used CollectionService to inform the parts that contained the VFX where the creature’s bones were and to follow them.

  1. We placed the following LocalScript in StarterPlayerStarterPlayerScripts. This essentially runs the VFX update function.
  1. We created a VFXUpdateModule ModuleScript to tell any objects tagged appropriately with AnimatedVfxModel to update on a play event.
  1. We tagged the necessary model groups with the AnimatedVfxModel using the Tag Editor plugin. Using tags allows the VFXUpdateModule to know which object to look for as the first VFX child and to apply the update.
  1. Finally, we added an AttachedBoneName custom attribute to the part we wanted to animate and added the precise name of the joint we wanted it to follow.

Texturing the Creature

Next, we set up the PBR (Physically Based Rendered) texture maps. These powerful bitmaps give the creature the varied sheen and surface variations to make it look like it has a lot of small bumps and imperfections. This visual effect helps sell the appearance of the Creature when it’s closer to the player.

Here’s how we created the surface appearance texture maps:

  1. The texture maps for this character were all on one “sheet” per map. This made the creature more efficient and meant we had to deal with fewer texture maps or SurfaceAppearance objects.
  1. For areas that needed to glow or be self-illuminated, such as the “grabby tentacles,” we also used transparency on the SurfaceAppearance to blend with those parts.

We found it helpful to follow these guidelines when creating surface appearance texture maps:

  • Make sure your maps are no bigger than 1024×1024.
  • Your green channel may need to be flipped depending on the application you worked in.

Animating the Creature

Animating is very subjective and has a personal style. Options include motion capture, hand “key frame” animating in your DCC application, or using Studio’s powerful articles/using animation editor|Animation Editor.

As we mentioned earlier, we wanted to make sure we had enough joints for fluid motion as well as enough limbs, so the creature animation felt natural and “layered.” Layering, also known as secondary motion, is something you see in everyday life — when you throw your arm out, every joint is reacting to the initial impulse from your upper arm, and every joint in your body doesn’t move or rest at the same time.

We used this technique to animate the Creature to feel like the limbs were reacting to the movement driven by its body as shown here:

If using an external DCC application for animation, we found the following guidelines work best:

  • Set frame rates to at least 30 FPS.
  • Create your animations with the same character you’re applying it to.
  • Export your animation data as a separate .fbx file.

Because we animated the character outside of Studio, we needed to use the articles/using animation editor|Animation Editor to import the animation .fbx file. The editor lets you select any avatar with joints or motors and drive them via points in the timeline.

To import an animation:

  1. In the Plugins tab, select the Animation Editor.
  1. Select the rigged character that you want to animate in Roblox. The character should be the same one you are rigging in your external DCC application.
  2. Click the button in the upper-left section of the editor window, select ImportFrom FBX Animation, and locate your exported .fbx animation file.
  1. When you’re happy with your animation, you can articles/using animation editor#exporting-to-roblox|export it to discover the animation ID, which you can then use in Roblox scripts to run them. For example, you can add a Script to the model group of the imported character and use the following code to run the animation:

Final Results

After a few finishing tweaks to colors, light brightnesses, and some more particle effects to give it a stronger halo effect in front of windows, here’s the final result in the space station!

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