Orc

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.

I'll share a fully textured version of it later. Currently, I am slicing the model for the printer and will also post pictures of the resin-printed result once it's done.

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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.

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.

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 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.

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.

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.

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 are some miniatures I created based on my concept art for the board game Battle Zone. I sculpted them in ZBrush, using the same techniques employed by Avalanche Software for the creation of the Disney Infinity figures, which have always been a great inspiration for me in terms of design and game concepts. I also used KeyShot for the 3D rendering. Additionally, I designed some trading cards for the game, as shown.

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

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