Art of Designing Clothes for Baldur’s Gate 3 Characters

Introduction 

Hey, I’m Arthur Varenev – that’s the name I go by professionally, but my real name is Artur Khairullin. I’m a concept artist focused on character and costume design for games.

I didn’t follow a traditional path – no fancy concept art school, just a lot of figuring it out on my own. I started in 2016, obsessively studying other artists’ workflows and constantly seeking out feedback from people I respected. That kind of hands-on, trial-and-error learning shaped my style more than anything else.

I do have a formal background in fine arts – I got a bachelor’s degree, but when it comes to concept design, it was really a lot of late nights, portfolio tweaks, and building up the creative muscle through sketch after sketch.

Since then, I’ve had the chance to contribute to some amazing projects, including Baldur’s Gate 3 and The Witcher 3: Gwent, as well as several indie titles and original IPs. Each one taught me something different and helped sharpen how I think about visual storytelling.

Working on Baldur's Gate 3

Larian discovered my portfolio on ArtStation and reached out in 2021. What started with a few test tasks quickly evolved into a full collaboration.

Working with them was one of the best studio experiences I’ve had – they really trust their artists and give you space to explore ideas. You’re not just executing someone else’s vision; you’re actively helping shape the world. That kind of creative freedom is rare, especially on a project of that scale.

Baldur’s Gate 3 went on to receive dozens of industry awards, break sales records, and become one of the most acclaimed RPGs of all time. It’s been incredibly meaningful to know that my designs were part of a project that resonated so deeply with players and the industry.

After the game launched, it was amazing to see players connecting with the characters I helped design. Some of the outfits sparked fan art and discussions and even became part of how people experienced the world of Baldur’s Gate 3. Knowing that my work helped shape the game's visual identity – and became part of the community’s experience – has been one of the most fulfilling parts of the project.

Baldur’s Gate 3 Outfit Design

Designing outfits for Baldur’s Gate 3 was like learning a new visual language – every culture and class in the game has its own rules and aesthetics. My job was to make sure each costume felt authentic and grounded in the world, not just cool on its own.

One of the most complex characters I worked on was Orpheus, a Githyanki prince raised in secrecy and caught between prophecy and rebellion. His look had to communicate all of that. I imagined him with tiger-like tattoos, something primal and symbolic. His armor needed to feel both ceremonial and functional.

The runes across his chest are drawn from Githyanki iconography – a mix of Astral Plane mysticism, martial rank, and sacred geometry. There’s a bone-spine motif running along the back of the armor, referencing the Githyanki reverence for warrior death and ethereal anatomy.

For color, I leaned into deep reds, purples, and silvers – red for bloodline and rebellion, purple for psionics and royalty, and silver to reflect the sharp, ceremonial aesthetic of Gith blades and armor. Visually, he had to feel like a psionic weapon – graceful, controlled, and dangerous. This design went through several iterations to get the right balance between royalty and rebellion. I explored different silhouettes, fabric textures, and armor details - from embossed leathers to symbolic patterns woven into the clothing. You can see some of that evolution in the silhouette studies and material renderings below – each step pushed the design closer to who Orpheus is: a warrior bound by heritage, power, and fate.

Early studies testing outfits’ structure and flow, exploring how silhouette dynamic and shape could reflect Orpheus’s royal yet rebellious nature.

Armor exploration sketches experimenting with material, ornamentation, and Gith-inspired motifs.

On the technical side, everything had to function well in-game. Long, flowing fabrics are difficult to animate cleanly, and oversized shoulder pieces or elaborate headgear often interfere with other assets. So part of the job was balancing fantasy aesthetics with practical constraints – making sure the design looked great but also played nice with the engine.

Telling Story Through Composition, Color, & Visual Detail

Every design choice should reveal something about the character – or at least how they see themselves.

For instance, royalty wears their status. You’ll see fine embroidery, rare fabrics, and hand-crafted details. These small cues signal power, wealth, and legacy. Their silhouettes are typically structured and elegant – a visual contrast to more grounded, utilitarian characters like blacksmiths or townsfolk.

Colors are really important. In most fantasy settings, and historically – rich, warm tones like gold, crimson, and scarlet were reserved for nobility or religious elites. Cool tones like deep blues and purples tend to suggest magic, intellect, or secrecy. I think of it like building a visual vocabulary that instantly tells the viewer where this character fits in the world.

Combining Personal & Commercial Art

My personal work leans into mood and atmosphere. It’s detailed but not in a hyper-rendered way – the focus is on tone, storytelling, and visual rhythm. I try to create images that feel like fragments of a larger world, complete with its own light, logic, and energy.

Game art, by contrast, is more structured. You’re working within lore, style guides, and gameplay mechanics – but that doesn’t mean you lose personality. I still try to bring a sense of elegance and visual rhythm to every piece. Whether it’s a rogue’s cloak or a prince’s armor, I want the design to feel intentional and timeless. If it still holds up years after the game’s release, I’ve done my job right.

With a game like BG3, the world is already richly developed – so it’s all about studying the lore and understanding how each race, class, and faction expresses itself visually. Every costume element, from the fabric type to the placement of a tattoo, should come from the logic of that world.

Advice for Artists

For artists trying to get into the industry, I’d say: build a portfolio that reflects your voice. Don’t just follow trends – focus on lighting, palette, and shape language that resonates with you. Over time, that becomes your signature.

Also, don’t be afraid to reach out. Post your work, talk to people, and ask for critiques. It can feel intimidating, but the growth that comes from that kind of engagement is worth it. The industry can be tough to break into, but with persistence and a clear artistic vision, it’s absolutely doable.

Artur Khairullin, Concept Artist

Interview conducted by Gloria Levine