3D Environment Artist
from Porto, Portugal
Door to Jotunheim
Hey everyone! This is my first final render inside Unreal Engine 5! Using the sequencer I created a cinematic inspired in one of my favorite modern games, God of War. This scene was created as an assignment for my Master's program and I was heavily inspired by the soundtrack of the game, hence why I used it on the final cinematic. Particles effects and snow assets are all Megascans and from other packs I own. The door, the pillars and the mechanism that opens the door are all modeled and textured by me, including the emissive "power up" effect. All the composition and lighting was created by me, including the sequence of events and cinematic. Video can be seen on my ArtStation Post.
I don't own the soundtrack for God of War, it is a property of Sony PlayStation.
I wanted to create a modular sci-fi corridor for my portfolio, using trimsheets and new modern techniques. I created this scene based of a concept from Alexander Thumler and then decided to add a bit more of a twist, with objects floating around due to 0 gravity and broken electric pipes, which is the cause of the artificial gravity being turned off. It also gave me the opportunity to apply a bit with simulating broken glass in Maya.
I decided to recreate a scene I did back in 2019 for one of my BFA classes in which I tried to create a scene based off Thomas Stoop concept. I really love his work and after a few years since my first attempt I have learned a lot more. So using new techniques I learned for modular environment creation I made the Water Temple Unreal scene. I will make a Unreal 5 version pretty soon as I am still playing around with the software, but I am really happy with how much my work has progressed.
I really loved a concept art by Lee Fitzgerald, who is also a really big fan of the stunning world of The Last of Us, so I really wanted to give it a try in 3D inside Unreal. I used this scene to practice my lighting, with both a day-time and night-time version and also practice my subsurface scattering skills with the covered car. I made some slight changes from the concept, but I believed I made justice to the concept overall. I created most assets inside Maya, with the exception of the foliage (megascans) and the human body I got it from Epic's metahuman, I did however change the rig of the character and textures. The concept is based on a Canadian ice hockey skating ring, hence the Canadian flag. But I also like the idea that the events of TLOUS happened in the entire world and the Fireflies are there too.
Murder Diner started as a project for CGMA modular environments class, but I decided to take it a bit further as new ideas and concepts popped up. The entire scene is game ready and completely modular. I utilized the principals of modularity and it was interesting experimenting Clinton Crumpler's trimsheet creation workflow. On this scene a murder has happened after an attempt at a robbery. All my models were done in Maya and textured within Substance Painter. It has been the scene were I have used Decals the most as well inside UE4 and I have learned a lot more on how to use them during this experience. This scene has evolved a lot and there is a even bigger breakdown and work in progress pictures on my blog or WIP tab on my website. Thank you as well for Jovanvir Singh, who gave me his cookie material that is seen on this scene using some tessellation.
I am responsible for all aspects of this project.
Cookie material made by Jovanvir Singh
Maars - Art Test
Hey everyone! Did this scene a bit quicker then the others, I worked on this for an art test for a company that can't be named. I had to create the modular military drone (MAARS) with certain specifications. After the test was done and submitted, I created a small scene for it in Unreal using Quixel assets to get some nice shots of it. Hope you guys like it! The asset is fully modular and completely game ready, as requested for the art test.
Operation: The Hunt
For this scene I wanted to explore creating foliage trough photogrammetry. I created a scene of a hunter's equipment he would use in a jungle. I created the foliage using a photogrammetry process with SpeedTree. I also used SpeedTree to create trees that cast shadows on the scene. The rest of the models I made inside Maya and Zbrush. This scene is that last that was part of my mentorship with Ubisoft's Associate Art Director, Billy Matjiunis. Although I was more independent then on the past scenes. I only utilized Megascans for a placing a few objects on the ground that wouldn't be seen as much and mostly out of focus, otherwise, all content was created by me. I am also fully responsible for all the lighting on the scene and post process. For the ground I utilized a mix of vertex paint with dithering.
I created this scene for the Springfield XDM-9 I had modeled for CGMA. The scene is inspired by spy movies and in particular, 007, with a few easter eggs in the scene referencing him. I modeled and created all the textures for this scene, as well as the lighting and post process. I would like the thank Ubisoft Toronto's Associate Art Director, Billy Matjiunis, who aided me and looked over me while I created this project during my mentorship with him, I learned a lot from him and I will always be thankful. The brick wall texture was also created by me in Substance designer and be seen on a separate post on my Artstation, as well as a closer look and breakdown at the Springfield handgun.
Valhalla Weapons Set [AC: Valhalla Fan Art]
I created this diorama during my mentorship with Ubisoft Toronto's Lead Artist, Billy Matjiunis. I polished the assassin's creed valhalla axe I had previously modeled and vastly improved its textures and model. In order to create this scene I modeled additional assets such as the shield and using nCloth simulation in Maya, the pelt model in which I later on applied a material from Quixel. Some of the other assets such as the buckets and the wood barrels are from Quixel.
Brick Procedural Material
Brick material I created inside Substance Designer. The render was created in Marmoset Toolbag. I created the material during a CGMA course, following a lot of feedback from the amazing Ben Keeling, whom I am very thankful for helping me create this spectacular material.