Buggy de plage

I have a strong affinity for buggy cars, so I created this buggy from scratch using various reference pictures of this type of vehicle. I used Blender for all the polygon modeling and UV mapping processes, and I utilized Substance 3D for baking the input maps and texturing. Additionally, I used ZBrush to sculpt parts with higher levels of detail to incorporate into the normal map. I created the number plate graphics in Adobe Photoshop and Adobe Illustrator. I also experimented with some HDR environment maps and performed 3D rendering using Iray. My goal was to replicate the sparkling blue paint of the reference cars I used.

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I designed and created this figurine, along with all its accessories, using Maxon One and Substance 3D. Inspired by the World of Warcraft universe and its creatures, I aimed to create a 1/6 scale 3D-printed character of an Orc. Approaching morphology is always a significant challenge. I enjoy working on both stylized characters and props as well as more semi-realistic and detail-oriented projects, like this one I’ve just completed.

Here is the Lapin Crétin I created based on the famous Ubisoft game character, which I like very much! I wanted to reproduce Ubisoft's techniques and art style to create another course for the Art and 3D class I teach. This presentation showcases the full process: I used ZBrush for sculpting, retopology, and UV mapping; texturing in Substance 3D; rigging and skinning in Blender; and finally, I created a short animated sequence in Unreal Engine 5, incorporating some post-processing effects to enhance the clip's appeal. I also handled the video editing in Adobe Premiere Pro, adding the original soundtrack from the Raving Rabbids that I downloaded

Here is another collectible I created from scratch in ZBrush. I used Unreal Engine 5 and its sequencer to produce the 3D turntable presented here.

I created this gramophone using Houdini SideFX, as I wanted to explore Houdini's techniques for low poly modeling with nodes, in contrast to the 3D polygon modeling in Blender or Maya that I typically use. This was during my time learning procedural techniques in Houdini. I then proceeded with unwrapping the UVs, also in Houdini, and used Substance 3D for baking the input maps, such as normal maps, curvature, ambient occlusion, etc., and for texturing. Finally, I utilized Marmoset Toolbag for real-time rendering and MViewer, which I should embed here, as well as Adobe Premiere Pro for the Ken Burns presentation and turntable. I chose the delightful "Petite Fleur" music by the soloist and composer Sidney Bechet.

Sonic Super Team

I created all the miniatures for this Sonic tabletop game, released in Europe, using 3D sculpting and printing technologies, combined with my traditional art and molding skills. I also completed the retopology of the meshes for these 8 characters and handled the texturing to support the teaser.

I designed the central piece of the game, the metal-cast medallion, based on the specifications I received and my own concept art. I utilized 3D sculpting and printing technologies, along with my traditional art and molding skills. Additionally, I designed the back of the cards and the token illustrations to match the medallion.

Blue Moon Cristal

I created this crystal while working for Studio XP, a school focused on video game development for students aged 8 to 20. My role involved creating several chapters to update the online class content for the school, and this crystal was one of the courses I developed. Studio XP uses free and open-source software such as Blender, Krita, and Unity. After completing my assignment for Studio XP, I decided to refine the crystal further and develop an entirely new course using Unreal Engine 5 instead of Unity, aiming to incorporate some impressive UE techniques to teach the students.

I sculpted this version of Link from Link's Awakening in ZBrush, using a collectible as my reference. As an art and 3D teacher, I create numerous tutorials and courses, and this is one example. I always choose subjects or characters that I think will engage my students, as I believe it's important for them to enjoy the learning process in my classes. I chose Link because he has a simple overall shape while also allowing for a mix of organic sculpting and hard surface modeling, making it an excellent way to introduce ZModeler techniques. During classes, I clearly explain and demonstrate the following key steps in the 3D character creation process using a video projector: model sheet creation, sculpting, retopology, UV unwrapping, texturing, setup, and animation (for simplicity, I used Mixamo) as well as 3D rendering.

Mitch Pigs Demo

Here is a short demo I created from scratch to explore the new update of Unreal Engine 5. My goal was to push the boundaries of my technical knowledge by utilizing Lumen for lighting, along with many other software tools I generally use for video games and real-time rendering. I sculpted the pigs based on a concept art piece I discovered while watching the Instagram artist Mitch Leeuwe. I really enjoy his overall cartoon style, which reminds me of the Preston Blair animation books that I’m particularly fond of. This inspiration led me to create a 3D version of this cute little pig.

Here is a low-poly car I sculpted based on my own concept art, which you can see at the bottom of this page. I created a model sheet inspired by my concept art directly in Adobe Photoshop, and then I used it as a base for sculpting in ZBrush. After that, I checked the retopology and UV mapping, and I prepared all the materials in Autodesk Maya before exporting the mesh to Substance 3D. I then baked the input maps and textured it. The goal of the tutorial I created for my school was to teach the Bitmap mask techniques and demonstrate how to work with Adobe Photoshop in combination with Substance 3D, along with effective ZBrush techniques and workflow organization.

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