Softwares: Zbrush, Maya, Arnold, Xgen
A Christmas spin on a previous work (Samson and the Philistines).
Using the sculpt I made in 2015 of the Foggini sculpture (displayed in the Victoria and Albert Museum) I sculpted a Christmas jumper and added some Christmas lights, dressing up the character. The furry parts of the jumper were made using Xgen in Maya and the whole scene rendered using Arnold.
Client: Aardman Animations
Software: Maya, Substance Painter
Working together with the talented team over at Aardman I was responsible for creating some hard surface assets and buildings for the project. Mimicing the iconic stop motion style of the studio we created a digital world that looks and feels like the miniature physical set.
Softwares used: Maya, Unreal Engine 4, Substance Painter, Photoshop
These visuals were modeled in Maya, textures created in Substance Painter. For the render engine I chose UE4, traditionally a game engine. However in recent years Epic Games have been developing their software to meet professional VFX and visualization requirements.
The resulting images speak for themselves, advertisement quality with the added benefit of rendering the environment very fast, and being able to create interactive content to be used online.
Client: Boom CGI, Dove
Softwares: Zbrush, Maya, Photoshop, Arnold
On this project I was responsible for recreating an exact replica of the Dove chocolate wrapper and bars, creating the split sections and detailing of the pieces of chocolate. Also developed parts of the chocolate shader in Arnold for all six variations.
Softwares: Zbrush, Maya, Arnold, Substance Painter, Photoshop
The famous ancient greek sculpture: the Discos Thrower reimagined. With the advances of technology the perfect body is being redefined in front of our eyes.
This personal project started off on the idea that many of the ancient sculptures that survived through modernity have some of their limbs missing. The broken statues even inspired Rodin, he said: “These are the damaged statues, found in the ruins, and they are no less masterpieces for being incomplete.”
Building on that initial idea I wanted to imagine how modern technology and advancement in prosthetic limbs could shape what a statue like that might look today.
Client: Fly Zuum
Softwares used: Maya, Substance Painter, Photoshop, Vray
On these visualization project I was responsible for the whole pipeline: modelling the jets in Maya, creating details through textures in Substance Painter and finally rendering in Vray.
I compiled all passes in Photoshop and did final retouch so the jets are integrated well into the photograph background.
The final images were then placed throughout the Zuum website:
Softwares: Zbrush, Modo, Photoshop
Using photo reference and the actual measurements of the shoe itself I created this high fidelity high poly replica of the Nike AF1 Flyknit shoe. The technical challange of the sculpting was accurately mimicing the intricate lace patterns across the shoe and matching everything up with the textures.
Softwares: Maya, Zbrush, Photoshop, Vray
The goal of this self initiated project was to focus on animal anatomy, CGI fur (and hair) and lighting setup. Developing high resolution textures and grooming was essential to achieve photorealistic results.
The base sculpt was created in Zbrush using dynamesh, retopologised in Maya and added high resolution detailing in Zbrush again. The hair was created using Joe Alter's Shave and Haircut plugin for Maya. Image was rendered using Vray.
2016 - 2018
Client: Courant Vert
Softwares used: Zbrush, Maya, Substance Painter, Photoshop, Vray
Working closely together with the client I was tasked to create various sculptures. Using moodboards and sketches in some cases I was responsible for the art direction, sculpting and final visualisation of these images.
All sculpts are watertight and fully 3D print ready. Creating sculptures in 3D saves time and money, since the whole process is digital and allows a fast turnaround time with quick modifications. After the design process is done, the final stl file is 3D printed and used as a base to create a mold for metal casting.
Client: Superblimp, DJI
On this project I was involved in creating the alien robotic arms that assemble the drone. Working from concept art and coming up with my own ideas to fill in the blanks I created three separate arms with different heads and toolsets. Everything was designed to look sleek, futuristic, but also probable at the same time.
Client: Taylor James
Softwares: Maya, Vray
Working from concept art I was responsible for all asset work seen in the images. After creating the models and laying out the UV maps I was responsible for look development, composition and lighting.
Client: Taylor James
Softwares: Zbrush, Maya, Photoshop
This project required the sculpting of an astronaut character from scratch. Using concept art and other reference images I created the high poly Zbrush assets and high resolution textures. Working closely with the art director and clients we tailored the model to fit our needs.
Finite detail such as the clothing pattern was paramount since the final media included high resolution 8k print images apart from the 1080p HD animation.
Softwares used: Maya, Zbrush
I had the privilege to work on the seventh instalment of the epic space saga at Pinewood Studios. Working in close collaboration with the director and the art department I was responsible of modelling various assets and weapons, and recreating the cockpit of the Millenium Falcon as close to the original as possible, based on reference images.
Working in Maya and Zbrush I had to follow 3D print ready guidelines. All models were watertight, scaled 1:1 with exact measurements. After printing these models were finished and painted in the workshop and used on set of the Force Awakens.
Client: Toyota, Blink Ink
Softwares: Maya, Illustrator
In this fun stop motion commercial I was responsible for some of the low poly car assets. The workflow included an initial block out modelling in Maya, focusing on the faceted paper style look. Then the 3D files were exported and laid out using a software called Pepakura. This created illustrator files which could be fed to a paper cutting machine. The cutouts were then assembled by the artists in the workshop and later shot on stage.
Client: AEG, Superblimp
My task was to clean up and retopo the CAD files of the Brushless drill. This included complex and accurate modelling, optimising the mesh for production workflow and generating normal, displacement maps where necessary.