Work Samples V2

Goose Knight | Modeling / Texturing
Stylized low poly character

This character was a exercise to become more comfortable and efficient in blender.

Brussa | Modeling / Texturing
Creating a character based on a concept by Max Warsinke 

Since I really liked Max' unusual concept I asked him for permission to use it. He also provided me with his old model to start off from. 
My goal with the character-mesh was to keep the geometry light, while still achieving good shading, without necessarily having to bake normal maps from a high poly mesh.
The modeling and Unwrapping happened in Blender. I then started texturing in Blender and Photoshop, but soon switched to Substance Painter. The texture maps are 1024 by 1024 and include Diffuse, Metallic and Roughness.

Wilhem The Wasp | Character Design / 3d Modeling
An old fighter, not ready to die yet 
Goal: Creating a detailed character from start to finish 

The Illustration of the character is based on photos of a maquette I created earlier in the Game-Design-course. Because of this, I already had a lot of reference material.
First, I made a collage from the photos and corrected problems of the original maquette (proportions, cracks) and problems of the photos (levels, distortion). Then I began overlaying textures, while trying to keep the lighting-information from the original photos.

Before I started modeling I made some sketches of the fighter to get to know him: How would he be standing? How would he move his body in different situations? In the end, I aligned sketches from different views to use as reference-planes in Maya. I also broke the concept down by the different material. My first step was then to block out the shape of the fighter. I divided the mesh further and moved the vertecies to match the reference. I then copied the meshes. One copy was subdivided with the smooth function to get a high poly mesh. The other mesh was optimized and fitted to the highpoly.

For the textures, I decided to split up the fighter by materials. This led to following textures: Skin (2k), Clothes (4k), Armor (4k), Props (2k), Hair (1k), Eye (1k). When unwrapping, I normally make a planar projection of the whole object. Then, I select the edges in the 3D view and split the UVs. Next I unfold the UVs and smooth them. Once all objects of a texture-sheet have been unwrapped I puzzle them together. While doing this, I save texture space by overlapping symmetric parts. Also, parts which will be closer to the camera are given more space then others. While doing this, I check the result in the viewports by using a checkerbox texture.

Before baking the maps in  Substance Painter, the meshes were split into parts to avoid baking errors. The texturing took then place in Substance Painter and Photoshop.

First, the joint hierarchy was created. Then, I bound the mesh parts to their respective joints. In the next Step, I refined the automated skinning by using the weight paint tools available in Maya. To test the skin weights, I created several keyframes for the joints in different positions to switch between.

There are many possible improvements for this character in all areas and I will continue the work on this asset.

Death 3D Illustration
Don't you worry traveler - 
Goal: Creating an explorable scene

My goal was to create a scene in which the user would have to move the camera to get the whole picture.
I also used this exercise to get more comfortable with blender.

Beast Friends Character Design / 3D Modeling
Two wild friends, an adventurous journey 
Goal: Creating a stylized character.

This excercise started with some studies from photo references, followed by quick sketches and thumbnails with the purpose of imagining how the character would move and behave and what poses fit the character. This step took me about 2 hours.

I then reviewed the sketches and chose the pose which I thought conveyed the character best. In Photoshop I did a paintover with grey values. I wanted the character to look stylized, so tried to achieve this. This step took about 2 hours.

Next, I filled in colors. The duo is outdoors most of the time - I tried to reflect this in the skin tones. I played around with different textures, but in the end decided to keep the illustration flat. This step took about 3 1/2 hours.

The model was created in 3ds Max. I focused on topology and tried to keep the polycount low to have better oversight. For posing and for testing the topology I weighted the geometry to a CAT-rig.
It took me some time to figure out the style of the textures. At first I started with a PBR-material, which didn't look good on the model. Then I tried to stay close to the style of the concept, only using a handpainted diffuse texture. During the texturing  I switch between Photoshop and SubstancePainter.

Next steps: Fixing topology - Finishing the texture - overall: achieving more likeness to the concept

The Big Flood | Prop Design
A big flood took it all away - but people adapt

With this excercise I wanted to design

a) generic props which could be placed in various ways to bring life to an environment.
Inititially I did sketches and thumbnails, while occasionally checking reference photos. Then I reviewed the created content and chose a few sketches to develop further. My main criteria for choosing the props was: Is the object versatile and generic enough to avoid obious repetition when placed multiple times in an environment?

b) a home reflecting the change in the environment, showing the adaptive skills of the owner
When creating the house-boat I tried to contruct it from object which would be around like street-signs, barrels, planks, tent canvas. I also tried to imagine the boat as space for the player to walk trough. For this purpose, I did a mock-up from the players point of view.