My demo reel of 3D work that I have created between 2016-2018 for my Digital Media Design program, and some personal work. I may post another compilation of something similar in the future for things that are not 3D related. This video is best viewed with sound.
This was a project I decided to make in order to challenge myself. I wanted to create a truly unique concept, with original game mechanics, level design, visual presentation. I decided that I wanted the game to be centered around the concept of switching between two dimensions, red and blue, in order to solve puzzles. The levels would need to be well thought out and precise to accomodate this. I took inspiration from the Portal games in terms of visual tone, but gave it a neon-punk twist, and a sword instead of a gun. I am proud of how this turned out, and would like to someday expand this concept into a fully fledged game, with sound, story and maybe even stealth combat. But for what it is and how quickly I created it, I am happy with this result.
It all started with the brainstorming of how to create a the ability to switch between two sides of a mirror. I started with this grid setup that was, looking back on it, quite funny in it’s unnecessary complexity.
Next I had to figure out the level design, to do this, I did quick block outs of each level.
Early level design was very crude, but I got various people to play them to get feedback. It was a necessary part of the process to figure out what worked and what didn’t.
In this final project for my 3D class, I wanted to learn the basics of Unreal Engine 4. I modelled a BMW i8 in Maya and Zbrush, and then transferred it over to Unreal Engine 4. I chose the BMW i8 because it was a visually appealing vehicle, but it’s more sophisticated and subtle as compared to a cliche sportscar. I created a very minimalist environment for the video to showcase the project.
This was my first time using UE4. I had to learn about node based coding in order to get the gameplay to work. This was challenging, because this is much different to Unity where you can code every specific thing. I also had to model this vehicle myself. This wasn’t too challenging, however, getting small details to look good was very hard as a car requires exact precision.
In this project I chose to recreate Slifer the Sky Dragon from the Yu-Gi-Oh card game. I used Zbrush to create this over 3 weeks. I created a normal, cartoon version, and a much more detailed version that I used in Sketchfab, as seen above.
Doing this project was fairly simple. I just had to set aside time to put work in to each part of this large creature. Getting the face proportions correct was quite challenging. I had to keep a lot of this creature smooth to keep the cartoon feel. I was able to finish this version of the sculpt fairly quickly. I then chose to add more detail (mainly scales) in order to give it more detail and depth. Luckily, ZBrush already has many of these features built in. From here, I took some time to polish each piece and get it to a presentable level.
All assets, code and sound were created by myself in 1.5 months as a personal project to test my skills and learn more about game development. To do this I used my Maya skills that I learned in Digital Media Design, but I also had to teach myself how to use Unity and set up a game scene. Through this process, I became very familiar with C# and the work that goes into making a working game. (no sound in video)
This was not a formal project for a class, but I wanted to challenge myself and do something different. I had learned the basics of Unity earlier in the year, and I was starting to challenge myself with learning how to code. I started by creating modular level pieces that could be arranged in a variety of ways. I created code and 3D models for the enemies and the player, to be able to shoot and destroy each other.
This was my second-last ZBrush project for Digital media Design. The project was to create a primarily hard-surfaced model, and I wanted to challenge my skills. I chose to the most ridiculous and over the top option that I could. Not only is it a humanoid, it is complex, confusing and challenging. The Daedric Armour from Elder Scrolls IV: Skyrim is some of the most iconic armour in all of video games. It is extremely difficult to get in the game, and that is why it looks so dang awesome. To create this, I found many sources to draw from, but the official artwork for this armour is SUPER inconsistent. Eventually I chose to draw from the art of an action figure version. Doing so many different textures was pretty challenging, and so was getting the proportions right. I originally was only going to to the bust, but I committed and decided to just do the whole guy. It took about 4 weeks, but here he is now.
The hardest part of doing armour is the hollow nature of the model. Particularly with the head, it is easy to accidentally cut through one side and into the other. Also the hard surfaces were challenging to do in Zbrush because it is mainly a tool for organic designs. I really tried to capture the gritty and edgy design of the Daedric armour, while also retaining the hard and smooth pieces of proper plating. I would have really liked to do more renders or texturing for this model, but it had so many millions of polygons that that would have been impossible. But here is the final Zbrush model.
This is one of my final assignments of Digital Media Design, “The Glass Cannon”. It’s a 3D modelling project that I created in Maya, and rendered with Vray. The goal of the project was to create a high detail model and render it for a great portfolio piece. It is basically an alien tank, based off of a blue whale and a spaceship. To do this, I learned a lot about Triplanar Projection, and Subsurface Scattering. For the modelling, I spend a lot of time working with the shapes that I had sketched out, and instead of building clutter on and around the subject, I built inward. Inside the robot is many skeletal and functional pieces that add depth and believability to the model.
I thought that a complex machine such as this would suffer from over-heating, so I incorporated that into the design. The orange glow of hot metal brings new depth to the robot, and the blue cooling tubes above this contrast the warmth with a cool hue. The robot is also able to unfold its carapace to release heat, but this leaves it vulnerable to enemy attacks. Finally, the robot has a giant gun on the top, because of course it does. It is an assault drone, so it uses a fast and heavy attack that shoots a massive laser. It is called the “Glass Cannon” for obvious reasons, and for the fact that it does massive damage, but very little defense.