Carpe Diem

I created this short demo from scratch, using the software I generally use for video games and real-time rendering. I set up a composition with lighting and cameras, and then used the sequencer in Unreal Engine 5 to create a cinematic rendering with path tracing.

As shown below, for the mug creation process, I made a model sheet based on reference photos provided. I began by using Blender to create the basic 3D geometry of the prop, and then used ZBrush to add fine details and ornaments, ensuring accuracy and fidelity to the original model.

In the video below, you can see that after working on the mesh's clean retopology and UV layout using both Blender and ZBrush, I moved on to Substance 3D for the baking and texturing process.

For the creation of the old book, I also used Blender for polymodeling. To find inspiration for the dust jacket design, I browsed the internet, where the title 'Carpe Diem' came to mind. I then used ZBrush to sculpt the engraving and embossing, applying efficient techniques.

As shown in the sped-up video below, I completed the retopology and UV layout of the mesh using both Blender and ZBrush, followed by baking and texturing in Substance 3D.

For the wooden planks where the props are placed, I sculpted them in ZBrush and Adobe, then retopologized and unwrapped the UVs using Blender and ZBrush, and completed the baking and texturing in Substance 3D.

To finalize the project, I exported all the props and textures into Unreal Engine, along with scanned assets like the apple and basil. I set up a layout with cameras and lights, created UE materials, and made final adjustments in Unreal to achieve the visual results displayed at the top of this webpage.

Additionally, I added the beautiful soundtrack from the Harry Potter film to the clip and completed the cinematic editing in Unreal Engine using Adobe Premiere Pro. Below is the model sheet of the Harry Potter mug that I used as a reference to create it as a 3D real-time asset.

This is the model sheet of the Harry Potter mug, which I used as the foundation to create it as a 3D real-time asset.

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I'm happy to share this 3D asset I created in ZBrush and Substance 3D. Once again, I chose an object to teach my students some hard surface techniques and procedural texturing. Here is the final visual version of the related course, rendered in Iray and Marmoset Toolbag. During my classes, I demonstrate the entire process using a video projector, and for online teaching, everything I explain is directly visible through screen sharing.

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.

I created the miniatures for this released game based on the specifications I was provided.

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.

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 some of the merchandise pieces for this game using 3D sculpting and printing technologies, along with my traditional art and molding skills. I'm excited to share pictures of this released game so that we can fully appreciate its high-end and polished quality in every aspect through these visuals. I was also fortunate to collaborate with two amazing and talented illustrators, FORTIFEM. In the last picture, you can see them on the wooden floor surrounded by their craft. As I admire their graphic art and believe in the value of working with great artists, I’ve posted the illustrations they created for the cards and packaging, as it provides a better sense of the overall game quality. They produced both colored and black-and-white versions, and I really love the result of this project, which was created by Maxime Le Dain and published by Bragelonne Games.

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.

Here is a collectible I created from scratch based on my own concept art and love for this character, using ZBrush. Dragon Ball Z is one of my favorite childhood anime series, and I had a great time sculpting this piece in 2014; it’s one of my older works. I remember struggling at that time to create the cloud in 3D because there were only 2D references available, and there weren't many merchandise items or collectibles of Son Goku molded back then.

Mario is definitely one of my lifelong favorite characters, and I'm excited to present my work on him here. This includes high-definition sculpting and low-definition retopology using ZBrush. The blue and orange version shown is the HD model exported from ZBrush, which I rendered in KeyShot. The low-definition retopology is presented here as the final rendering, textured in Substance 3D and rendered in Iray.

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