OBIMOZ Rookies 2019
I'm focused on making game ready low poly models and improving my character production pipeline showcasing them in a realtime environment. I wish to get my characters to a AAA game standard. Although, I'm also working on improving my texturing and lighting skills in tandem.
Hello I'm a Digital Media Art student pursuing a degree in animation. Though I'm mostly interested in character design, in my training, I've had to wear a few different hats over the short span of 5 years as evidenced by my 2017 showreel.
My main focus has been to create unique and lasting characters in service of a good story. Initially my artstyle was towards simplified characters for 2d animation but gradually I've invested in studying anatomy, figure drawing and gesture studies to understand the human form as I realized I had to rise to meet the demands of AAA studios. and learnt other techniques such as photobashing to improve the quality of my render.
Thus, I'd attempt here to showcase my improvement as I learnt and gained some level of mastery over aspects of character design using various software through the projects starting with my personal work.
A small journey of a few years. This project has grown as I grew in skill.
It started with wanting to do a Pixaresque character design. Initially, I made it as a 2D animation to showcase my grasp over the 12 principles of animation. The brief was a lonely character stuck on an island. I interpreted it adapting the narrative for an aquatic animal for whom the water, rather the puddle is an island.
Recently, during my internship I got a chance to look back into it and realize it in 3D. I worked on all aspects of the process guided by seasoned professionals in various fields, but mainly I was interested in doing justice to the main character. I used Quixel mixer for tile-able backgrounds and photogrammetry assets to populate the scene.I sculpted the hero character in Sculptris later I took it to Zbrush to export normal, displacement and polypaint maps. First polypaint pass was done in Zbrush and used as an albedo map inside Substance Painter. It was retopo'd, rigged and animated in Maya 2016.
Water simulation was done in Realflow. Rendered in Redshift.
As I was responsible for the IP, I was given 8 weeks to show a proof of concept. I edited this playblast to showcase the character within the context of the story. Unfortunately, I couldn't pursue this any further within the terms of my internship, however I rendered a shot from the above within new textures and finished effects.
I learnt several texturing methods and Zbrush pipelines that'd help me pursue more ambitious projects next. I learnt quite a few animation pipeline hacks and became quite proficient with Maya. I wanted to start working on just characters, however I still had to work on another animated project.
‘Future’ is the most sold product in the modern times. Those peddling it, often want the seekers to abandon their past, more so if the past has lessons ingrained to jeopardize the future they entice about. The project is about such a recruiter in the future and a young person at the crossroads to it. In a world where dystopia is banned, an aspirant looks for a job.
This is made for my pre-thesis project in college. It is made using Adobe Fuse, Zbrush and Maya. Textures were made in Substance Painter and shows realistic results in the PBR workflow. Done in a little over 2 months. Rigged with Advanced Skeleton, music in Garageband. Foley and effects from Rocketstock and Videocopilot respectively.
My goal here was to explore the character pipeline further and deliver models that could portray emotions and have a dialogue. They exist in an Orvellian dystopia where words have lost their meaning, therefore I had to spent quite a bit of time on the dialogues.
A documentation of all the pre-production artwork made to give a better sense of how the final animated movie might look and feel like. I used the basic meshes off of Fuse, posed them in Mixamo, then took some renders with Octane for Cinema 4D. After that I photobashed the rest to showcase a few iterations and give an idea of the quality i wanted to achieve in my visual storytelling in the next 2 months as I had to move fast to get my concept approved.
Finally, I was able to pursue a project in the field of my choosing. Thus, I got to working on an anthology series with many cyberpunk characters. These character designs and even the world that they occupy is governed by Guy Debord's philosophy of the Spectacle. Initially, it was a daunting task to marry these two elements, but the thought experiment did provide some bizarre character amalgams.
This world and the stories could be further developed into a series of shortfilms or a game. The brief was to create a multimedia project using the book "The Society of Spectacle". As the notion by itself and the wording isn't the easiest to understand,I took it to a place audiences are familiar with... cynical sci-fi.
The scenes are chock-full of spectacular characters who will be right at home on the silver screen. Using such popular tropes, I've tried to lay bare particular quotes from the book and make the audiences realize this bizarre world isn't far from our own.