Mario

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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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.

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.

PLANET OF THE APES - THE MINIATURES BOARDGAME

I created all the miniatures, including the apes and soldiers, for this game, as well as many of the 2D graphics. The project is still in production and is expected to hit shelves in June 2025. All the characters were designed based on my observations from repeatedly binge-watching the movies, as well as the references provided to me by 20th Century Fox. The turntables created by Weta Digital were especially helpful in supporting my 3D conception and adaptation of the film characters into small tabletop game pieces.

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.

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.

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 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.

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 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.

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.

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