1948 Buick Streamliner

Software used: Maya, Arnold, Photoshop, Nuke

This is a 1948 Buick Streamliner, done in Maya and rendered with Arnold as multichannel exr files, containing the AOVs and then composited in Nuke. The whole project took about a month from start to finish. Texturing was done in Photoshop, and for the background I used panorama images, from which I removed the sky and mapped them to cylinders, with increasingly larger sizes to get more depth and also, to get their reflections on the body of the car nicely.

For these I used Arnold mesh lights to emphasize the shape and silhouette of the car.

If you open the wireframe image in a new tab, you`ll see it at a much higher resolution.
Screenshot of a fairly simple, but adequte Nuke node-system.

Unreal Engine real-time versions

Below, you will see the reworked in Unreal Engine, as a real-time project. It was not particularly difficult, I did have to layout some parts` UVs for both the textures and the baked-in shadows.

I did two versions, one is a more cartoonish and the other is a more realistic render. Both can be downloaded and played from here: https://onedrive.live.com/redir?resid=C69876D7D1385316!1467&authkey=!AH50VsKAymt38J8&ithint=folder%2ctxt
Just unzip the files and launch the executable from the WindowsNoEditor folder. On my notebook (1.6 GHz 4th gen Intel i5 4200u, Nvidia GeForce 745m 2GB, 8 GB ram) I get around 30-40 fps, which is quite good for the specs.

Assassin`s Creed inspired character art

Software used: ZBrush, Marvelous Designer 4, Maya 2015, Topogun, Substance Painter & Designer, Knald, Photoshop, NVidia Hairworks (Shave & Haircut for the guide curves)

Though, my initial idea was an anime style character, i abandoned this in Zbrush as I was not satisfied with the result and thus changed it, but it is still visible in pictures of Marvelous Designer.

This project in question was inspired by my favourite Assassins Creed game`s protagonist, Altair. However I chose to make it a female character, because I found that an interesting premise.

First I created the base garments in Marvelous Designer, then exported the triangulated meshes into Maya, where I gave everything thickness and made some of the additional hard surface elements.

The proportions of the character, I changed in ZBrush later to fit the art direction better.

After that, I brought everything into ZBrush, used ZRemesher with guide curves to give an optimal quad-based edgeflow to the garments from Marvelous Designer for clean sculpting.

Once I prepared everything, I started sculpting the details, which I finished at a whopping 80 million polys and 64 subtools. I used a combination of brush-based sculpting and the surface noise function in ZBrush to project high-frequency detail into the surfaces evenly. I went the extra mile to sculpt every detail with care, down to the last stitching and i enjoyed it very much.

The face i did later, separately.
After completing the sculpting, i decimated the subtools down to an overall 8 million polys, which then i exported separately and used Topogun to retopologize the surface, which resulted in a 51 thousand triangle, engine-ready mesh.
After bringing everything into Maya, I laid out all the UVs into a single square as Substance Painter does not support multi-tile UVs at the moment. After laying out the UVs, I generated the normal maps in Substance Designer, brought all of the different maps into a single texture file and used Knald to generate additional textures from the normal maps, to be used in Substance Painter, where I 3D painted the whole model using a rough/metal workflow. After that, i exported the 26 different texture sets and masked them together in Photoshop. I also used Miaxmo`s online rigging tool to pose the character, which for an automatic process, turned out very well.

I changed the colours slightly and her make-up in Photoshop and this is only the albedo in the Hairworks viewer.
For the hair, I used Shave & Haircut in Maya to generate guide curves, to be used in Nvidia`s Hairworks plug-in, for some awesome real-time hair simulation.

A fantasy cocktail ring, designed by me

Software Used: Maya, Zbrush, Photoshop, Keyshot.

This fancy ring was designed by me and inspired by the House of Baratheon coat-of-arms, from Game of Thrones. I modelled the sapphire - based on real-life sapphire shape for maximum realism, correct refraction and perfect highlights - and the ring itself in Maya, however, for the silver stag heads I used ZBrush to model very quickly, decimated the end result and brought everything together in Maya, where I set up the materials for use in Keyshot, where I used its robust material system to shade the ring, after which I used Photoshop for some post-process work.

Asus N550 in Keyshot

Software used: Maya, Photoshop, Keyshot

This is my own notebook, modelled in Maya to exact measurements - even the keyboard font matches, it is Futura BK -, textured in Photoshop and rendered in Keyshot.
I was inspired by Microsoft, using only Keyshot to make the Surface 2`s marketing images in a mere fortnight and also the main colour scheme of the Autodesk products and I used my own Windows 8 metro screen from my notebook. Notebook-ception.
I am however not affiliated with Asus or Microsoft, this is fan art.
I used a 32 bit, HDR image to represent and correctly display the led-array used to lit the keyboard.

A bottle of perfume, from Karl Lagerfeld

Software used: Maya, Photoshop, Knald (normal map generation), Keyshot.

A perfume, which I am quite fond of, modelled in Maya, textured and post-processed in Photoshop and rendered in Keyshot.

I am not affiliated with Karl Lagerfeld or Chanel, i just like this perfume.

A fortress at night - Environment Art

Softwares used: Unreal Engine 4, Maya, Zbrush, WorldMachine, Photoshop, Knald, Topogun, Speedtree, Marvelous Designer, Marmoset Toolbag, Substance Painter & Designer

This project is a real-time game world environment, running inside UE4. I use a wide variety of techniques for example DX11 based tessellation for distance based rock displacement, I also used WorldMachine to generate a believable terrain, from the exported base I sculpted inside UE4, Knald was used extensively to generate the normal, height, ao, curvature and convexity maps from input textures maps.

I also used Cascade to make the particle effects for the fires and waterfalls around the level.
I used SpeedTree for this project, to generate believable, realistic behaving and appealing trees and other plants.
I made extensive use of Photoshop for texturing, with Marmoset Toolbag to instantly visualize said textures on the meshes.

I used the node based shader editor to create the shaders, which breathes life into the level. For example distance based tessellation, which essentially changes the polycount and keeps the silhouette of the object intact all on the fly, mostly on rocks, avoiding the popping of LODs based on the position of the object.
Essentially, with one tileable dirtmask near infinite amount of variation is achievable.

I delved into the abyss of blueprint to construct a spline based mesh-systems to create ropes and the overhanging ladder, both which can be edited in the engine.

Please note that the rope system hasn`t been added at this point to UE4

Miscellanious portfolio items

Here you can see other, mixed items which is a good way to communicate my skills.
Below you will see a 8x8 km mountain terrain made in World Machine and rendered in Unreal Engine 4.