I’m a huge Tolkien Enthusiast and for the longest time I’ve wanted to have the Dragonhelm from The Children of Húrin, and felt like it’d be bloody fantastic to model the thing itself.
To make this I used the original book cover as a side reference, which is this particular image, also another illustration by Alan Lee. and for extra details I looked for helmets already done by other fans but fortunately I found a bunch of ugly ones, so it was my time to shine.
To model the knots I used curves, the rest is basic modeling.
I would really like to 3D print this in 1:1, and then maybe cast some molds to make an actual metal version.
This was my first project ever when I finally got into Unreal Engine for environment design. It was something I wanted to approach for a couple of years and finally got to do it.
For this project I used mostly assets from the marketplace and Megascans plus the modular ruins which were provided by Unreal Sensei (as well as the crash course). I sculpted the landscape and added foliage/textures by hand; In the future I’d like to try procedural materials/blueprints.
SELF Booster was the first solution offered by Zeleros to the ports to move containers within the port in a more efficient way. It would use some of the components that were being developed for hyperloop (Zeleros’ true endgame) but in a more practicar, smaller scale; and also much cheaper.
When I was given the first text I came up with a couple of ideas and a few suggestions to make it more “script-y” (just to make my own life easier), then I came up with the storyboard shown below which was the very first approach to this whole imaginarium. Half of my frames were rejected (click here to see the previs of the different intro environments) and there were a few more changes done to the script but I was already working on the 3D environments and playing around in a program I hadn’t heard before: Twinmotion. It had quite an user-friendly UI so I caught up with the whole functionality really fast; I also figured a lot of problems with the workflow by myself because there were no people in the forums working with these programs in such ways. I’m not saying I’m super advanced or smart or so, but there was really nobody else trying to work on such an environment and program-communications like I was.
The technological 3D models were given to me by the Tech Department, I modeled the rest based on some CAD plans and whatever was needed, most of the models from the port were found online (I edited the textures and some of the models), then everything was put together inside of Twinmotion where I added custom shaders to everything + animated the cameras (quite limited in this ArchViz softwares) + fixed lighting and all those post-processes, the composed everything in After Effects because by that time there was a problem with Premiere (which was no problem at all).
After everything was set I made the remaining motion design like the into/outro/texts/map/arrows/tracking inside of After as well + added subtitles and a fitting song of my liking.
I also came up with those 2 logos for “future use, just in case. To have a starting point” and while the squared one was instantly rejected the blue one ended un being printed in XL for our base of development in the port of Sagunto.
I did the Link model and rig specifically thinking about this scene, which is a recreation of an original Zelda 1 concept art.
Everything done in Blender except for the particles and moon/text, which I did in After Effects.
Happy 35th Anniversary
One of our partners asked for a render to promote one of the future investments towards electric vehicles, in this case an eVTOL (electric vertical take-off and landing).
The vehicle, train and station were designed by a colleague, Martín, then I looked for a fitting royalty-free image + 3D cars bundle and composed everything on top of it using Blender and Photoshop.
First I added the desired shaders to each object, then I composed the image in 3D, matched the lighting with an HRDi + sun, cleaned the image with photoshop (matte painting and its AI), added extra 3D elements and details, fixed some other things, animated, rendered, composed in After Effects, color corrected everything, and voilá.
The King’s Isle is a place I had on my mind for a long time, it was the setting of a dream and what best way to bring it to life that through Unreal Engine?
I love making “perfect scenarios” in the sense of having great green vegetation, hefty tall trees, blue skies, generous clouds, etc; although I do love creepy environments a well, especially if I can make use of good silhouettes with depth. So I first decided tosacrifice my perfect environment as an environment exercise to set a different tone.
My main reference was the Dead Marshes from The Lord of the Rings with a touch of Castlevania, and the end result was… Alright. I’m still a bit new to UE so there’s many things to learn about weather.
To make this I sculpted the landscape and used a bunch of assets; the modular castle is from RenderCrate, the statues and bonfires are from Epic Games’ Infinity Blade, flora from Megascans, the huge smoke trails and hell tornado are VDBs from EmberGen, and some other random assets from Sketchfab or the internet.
To make the castle exactly how I wanted I used Blender.
For the weather used Unreal’s sky, clouds, exponential fog, and niagara blueprints.
This is one of the videos that was unfortunately never released to the public, I was in charge of doing the whole thing but thankfully my colleague Martín was able to help me with half of the scenes (not shown here) because otherwise I wouldn’t have managed to finish this project on such a short time. I used Blender and Twinmotion to make the animations and he used Unreal Engine.
This project was achievable thanks to Blender, Twinmotion, Unreal Engine, Google Earth Studio, Photoshop, After Effects, Premiere, and Audition. It’s about a more efficient way to transport containers.
I modelled all of the environments in Blender, downloaded a good resolution container for near-renders and made the custom textures, made low-poly piles of containers out of texture baking to fill the whole scene, put everything together in Twinmotion and depending on the scene I made a render out of it or Blender, edited everything together in Premiere and used After for mograph/tracking/fixes/etc, used Audition to edit the voice-over and adjust the song to be the length I desired, and used Handbrake to compress the final video.
For a more in-depth take on the sunrise scene click here.
The Smith is a shortfilm I did in a rush about a Norse Blacksmith who recently lost his Shieldmaiden wife and was left all by myself.
I stumbled upon a ton of problems, and most of them I was able to overtake, yet the finished product is far from what I wanted or originally imagined. This shortfilm was going to be traditionally-animated, but due to time and a lacking expertise I decided to go for 3D which was definitely the better solution.
My influences for the character proportions and such were older Dreamworks 2D movies and Wind Waker, fortunately my story involved only a couple of characters so it was a much faster process.
I did this in Maya and rendered in Hardware Mode, which was originally the look I wanted but I had to do some extra tweaks. I rigged the character with AdvancedSkeleton and everything else by easier means.
The textures were a mix of Photoshop and 3D Coat which worked wonders, it made the process so much easier and better because Mudbox was bugged as hell and I really wanted to directly paint over the 3D models.
After Effects did the compositing, which as usual worked as intended.
I had the sound effects done by a school mate who was studying the Audio Engineer Major, and for the music I wanted a classic guitar song; something that felt nostalgic and far. I asked a friend to compose a song for it and it was good but not what I wanted so I began looking for the composers of this song and asked for the rights/permission to use it.
That song is from a game I played when much younger, a game I have extremely fond memories of and had just the perfect song for me. The problem was that I wasn’t able to contact any of the people involved with it but found another musician who had used the song for a very nice cover; I asked him for it and turns out he already had permissions to distribute his version and allowed me to use it for my shortfilm.
This was my secone environment done in UE5, it was inspired by a view from Cuenca, Spain.
I sculpted the main landscape and used existing meshesfor the background, as well as using megascans assets to populate the scene.
I asked a friend to pick a subject and he chose “war, particles”, so I made this small-ish I’ve liked for a while and added some really thick sand/dirt particles.
Wasn’t entirely sure about the textures but they turned out pretty cool, I also wasn’t sure about the amount of detail that I wanted (for example, I avoided every single bolt on the outside of the tank) because I’m torn between doing “realistic” proportions with “toon” textures or going full Stylized Mode which is pretty cool.
The modeling was pretty straight forward with some blueprints I found online, there are a bunch of them because they made several models of this particular tank.
For the textures I actually wanted to try an external software called ArmorPaint, similar to Substance, but given the amount of meshes it turned out way too complex for the program (and I was too lazy to make 1001 different groups), so I did the textures inside of Blender.
I wanted to rig the whole think so that the tracks/springs reacted to the floor and everything, but it felt like overkill. So I made a very simple animation to emulate the damping.
For the tracks I used an Array and Curve modifier, which then were parented to the main body to follow the movement.
For the ground I made a long bumpy ground and then booled (masked) out a cilinder area.
For the particles I used a Metaball with higher quality render settings and used it as the object.
I made this concept of a Hyperloop Station based on the already existent ideas of how it would look and operate + a bit of my own imagination and research. Although I was never entirely happy with how it worked because in the end I just wanted it to be more “functional” for renders than “realistic” and let me just say that I’m all for realistic approaches but at some point I let the horses run free and they galloped a long way.
I adjusted an old Station done by another colleague and the workflow involved modelling/UVs everything in Blender and transfering over to Twinmotion. There I put everything together and added shaders + animated instances/props like the passing pods and people.
At the very bottom you’ll find a couple of designs I came up with and an approach to the old original station where I was turning it into a multimodality station; it was abandoned mid-way.
I had this idea going around my head for some years and thought UE was the perfect program to produce it but I couldn't get it to look the way I wanted and then couldn't get past a paywall for a "closer" look; I wanted a random pillar with a flame on top in the middle of the raging ocean in a brewing storm.
The vanilla water system from UE didn't had that much to play around so I tried to learn my way into Niagara until I hit another wall called "the hardware limits of my computer", so off to Blender I went. I knew there's an ocean modifier that works pretty well (I helped myself to a tutorial) so I felt like trying that out and everything worked pretty well until I began adding foam, particles, rain and rain colliding with the ocean surface. That's when the hardware kicked in again before even thinking about the clouds.
So, I first I ditched the rain+collision, then the particles, then the foam, then I added a couple of VDBs for clouds and another one for the fire. Besides using a volume cube for depth I wanted there to be actual volume for the lightning to play a bit "inside" of the clouds; the clouds are also moving a bit.
For the light I used area lights and for the lightning I used a GeoNode recipe I found online. At first I was trying to make the lightning travel inside of the cloud with emission curves and couldn't manage to make it look good so I animated the area lights instead.
Because of hardware limits I ended up sacrificing looks and rendered the sequence using Eevee after doing several adjustments to the volume and samples, then I isolated the fire and rendered it with Cycles using very few samples. After that I used After Effects to comp it, added extra lights, rain and post-processes, and then the sound effects I gathered from Freesound.org.
This is an extract from the AGW Project.
This was done in Blender and Twinmotion, and was part of some extra scenes made to fill gaps in the video.
Out of these 3 ideas I only used 1.
For a while I’ve had a taste for this kind of things, just recently I learned what a “mooring tower” was and had to recreate this scene. Also I’ve been a Led Zeppelin for a while so it’s been imprinted in my brain for a while.
I found this article and was completely astonished as it was brand new information to me, then I got to this zine about the Hindenburg and a new 3D project was born.
For the zeppelin model I used some blueprints although it was too late for me when I realized the back fins were different, I fixed them a bit but didn’t care much as they were going to get destroyed in the future. I made the cockpit and landing wheels somewhat accurate because that was not going to be the important part of this project, although I really felt like making the whole interior structure just for fun. Then I made the mooring tower and downloaded a bunch of people from sketchfab plus a truck and turned the people into a particle system to have a crowd. The it was time to work on the Hindenburg so I removed a bunch of faces fro the mesh and rearranged the vertex to simulate the explosion, then I took the back of the whole model and bent it. For the explosion simulation itself I began making a regular POOF, but it wasn’t good enough, then followed a tutorial and the end result didn’t look quite good + was extremely heavy for my computer, then I downloaded a trial for EmberGen and was kind of getting somewhere but couldn’t really get a cool explosion, I decided to go for a VDB and be done with it. For the extra explosion splash I sculpted smoke paths and turned the mesh to volume and it was looking decent until Eevee couldn’t decide between crashing at working harder than Cycles at 150 samples or just crashing all together, the mesh to volumes weren’t looking dense at all in Eevee and looked great in Cycles, so I made a turntable in Eevee and rendered stills in Cycles.
Since the beginning I panned on focusing solely in the explosion and not the textures.
I made this Link, based in The Legend of Zelda 1, to commemorate the upcoming 35th Anniversary.
It took me almost 5 days to model and retopo Link, then an extra 2 to get the rig up and running (not finished yet).
The idea to make this character, besides celebrating Zelda, was to practice both rigging and 3D animation.
I used a tutorial and some google references to achieve excelent topology.
I wanted to keep a toonish-toyish look for the shaders.
The hair was made with curves.
Instagram link
Zeleros is a group developing Hyperloop Vehicles in Valencia, and this project was made for them. Unfortunately due to the tight deadline I wasn’t able to finish the very last part involving a city, a station, and passengers disembarking the pod.
I modelled, textured (except for the HDRi and grass textures) and animated everything except for the inside seats.
The main pod model consists of very simple shapes and extrudes, the lighting was solved with an HDRi + a couple of area lights + a couple of point lights, the metal/concrete shaders were done procedurally using voronoi/noise/bump/colorRamps, the grass was done with a bunch of textures in planes which then were grouped together in a collections and used like particles, same with the trees.
In post I added the text animation and very simple effects like the sun glare, the SFX were taken from freesound.org, and the track is the Star Fox 64 HD Main Title Theme.
Light Study Exercise featuring a photogrammetry model of Marcus Aurelius, Lord of the Rings Edition.
Rendered with Eevee.
This was done in Blender and After Effects.
A colleague from Business Intelligence asked if I could make an exploded view of the Z50 Pod and this is what I came up with.
When I wrote The Smith I had this idea of Valhalla, a gigantic cruise-like longship that sailed across the skies picking up fallen warriors, carrying Yggdrasil with it to, at the same time, deliver life everywhere.
It took me a while to determine the shape of the longship head, originally I wanted a very robust horse but I wasn’t able to fully translate it to 3D without looking Greek. Then I decided to go for a dragon (which is historically more accurate for what I intended) but the damn thing looked like an Amusement Park Mechanical Ride so in the end I went the simple shape way and achieved a pretty cool dragon head. The problem then was that the more details the less Norse it looked, even with the references I was following, so I didn’t add any more details.
I wanted to try something different because hand-painting the whole thing would take a while, so I used maps. I found this website which provided me with every single texture needed and the results were quite satisfying. I made some very state-of-the-art UV as well.
For the clouds I turned Metaballs into Blender’s more recent volumetric addition, and they looked really good. They also took a while to render. A friend of mine asked me for some beauty shots of the shit to make a new video and add sound effects with the intention of having more SFX Reel Material, and so I made them and took 2 full days to render. I had to use another method for those clouds because the volumetric metaballs wouldn’t do the trick, so I followed a tutorial for procedural clouds which worked pretty good. The problem was that I wanted the longship to collide with the clouds and that was a problem because after many tries with different clouds I realized that my computer wasn’t strong enough for all the calculations that had to be done, it was too much a work.
A problem I wasn’t able to solve was the blue flame from Yggdrasil (the tree from the back), for reasons I couldn’t figure it wouldn’t render appropiately. You may get glances of it but it’s technically not entirely there. I’ll have to revisit that in the future.
Daft Punk has been one of the most important and influential things in my life since 1999 and years ago I watched their shortfilm Electroma. It was so weird that it hooked me and many years back it was one of my inspirations for school proyects (a painting long lost unfortunately).
To make this scene I used one of my default MakeHuman models and simple rigged it, then froze and duplicated a pose and booled out the face after adding a scaly normal map. Then I made the whole chip face and animated accordingly. For the fire I couldn’t manage a good aesthetic shape and before my computer blew up I went for a VDB, chose a frame, and froze it. Then tweaked Cycles a bit so that the fire was more visible.
For some reason adding a circuit texture map to the face (in addition to the already heavy VDB) made my Blender crash, so for the video renders I had to turn it off.
Medprimex is a DNA Health Test, unfortunately the whole animated videos idea was ditched. So think of this as a pitch.
I made this in Maya by using a method I really liked because of the render look: Viewport GPU Processing in Real Time.
I was given a sample of the product and some blueprints and modelled after them, then made a simple human in MakeHuman and fully rigged it with AdvancedSkeleton only to use nothing more than the hands.
Then composed everything in After Effects.
This was one of those flash projects; one day they asked me to design a “pallet transporter with a rounded shape” inspired in our SELF to be used inside of warehouses. It would only help move whatever fit in a pallet. All done in Blender with textures taken from the internet.
So I came up with this, and I would have rather used a regular cube because it allows to fit more stuff inside but this was what they had in mind.
This transporter-machine-thing has sensors, automatic sliding-door, and a way to hook itself with another transporter.
This sword gives great power and knowledge to those worthy enough to find and carry it, and with said properties it comes with a tremendous duty of using it properly.
The last time it was used was a failed attempt of making the world a better place, so the carrier became a runaway and hid the artifact in what would later become a full forest.
This was the project that made me learn the handpaint texturing workflow in Blender, but since I skipped several parts of the video I missed the mention of having to individually save each texture for each model because simply saving the file wouldn’t do the job, so I had to redo every single texture.
I also used some particles with a star shape.
I was asked to define the best way of making a VR experience that included a visit to the Hyperloop Station concept, a quick simulation inside the Z50 that would show you how a commute could be, and a “Technical Room” that showcased each subsystem and component of the hyperloop pod.
Unfortunately I always ended up hitting the same wall, and that is me not having the knowledge of building such a project by my current means. This required a lot of time and especially knowing how to use and code in Unreal Engine.
I did a couple of 360° tests to show them what the actual easiest solution would be.
My vision was that the most achievable thing, taking into considration all of the must-haves they wanted and for the given time, would be making a project especifically for Sketchfab and for the Technical Room where you were able to observe and move around the pod and its components. Unfortunately I discovered Sketchfab’s limitations this way and the idea was ditched and put on standby altogether.
The best way to do it is in Unreal Engine; I did a couple of animations to show my ideas.
For the images below I worked with my colleage Martín, he re-designed the whole interior and part of the exterior so I could use my OCD Powers to adjust everything in Blender. Then added the shaders and a bunch of assets like people, bags, laptops, beverages, phones, a bike and animated the people, but, this is where it became too much of a problem for Sketchfab to process so I removed the animations except for what happens with the subsystems.
I used this statue to make a light study under different situations; day, night, focused, red/blue, mist, and backlight
The Eyegore Statue is an enemy from the Zelda series, this particular version is from Minish Cap.
I modeled and textured it in Blender, and ever since that Link model I’ve been using the mirror modifier a lot since the beginning or each project.
I did the grass with a simple Particle Setting and animated it with Wind and Turbulence.
For some reason I was curious about turning my quads to tris this time around but I preferred not too at some point, too late to revert the conversion for those 2 meshes but it doesn’t really matter.
For this model I wanted to go as lowpoly as I could and recover as much with the texture, which didn’t turned out THAT lowpoly in the end but the result was alright.
I had to add a few more loop cuts because the UVs were acting up in the wings.
I modeled and texured the base image in Blender and then added fine details in Photoshop, which was also much easier to add the rectangular details and make extra maps, like the emission map.
I ended up not doing an exact model of the Skyward Sword Bird Statue because of bad brush use which turned out pretty good and inspired me to try a different style.
This was inspired by a track from Dragon’s Dogma Dark Arisen, and the moment I looked for it on youtube made me think about a gigantic bright moon rising up the mountains.
I got the moon texture from a NASA library, then applied the texture to a sphere with an emission shader, made the mountains with a build-in landscape maker but since the texture wouldn’t look that good I looked for this model and modified it a tad, for the trees I used curves and a subtle wind sway animation, I wanted there to be gusts of wind and snow rushing through the very top of the mountain but my computer couldn’t handle the simulation and I didn’t wanted to spend much time doing that so the solution was a simpler snow wind.
A tower, in the dunes.
Done in Blender, sculpted the dunes, made the clouds with metaballs and converted to mesh then to volume, and downloaded the tower from Sketchfab.
This was the first image of my “Tasty” series.
Part of the Tasty Series.
I was inspired by the staircase of an old hospital to do this scene, which I almost recreated but with a cleaner look.
I used some assets and built-in plugins to make the foliage, the rest were primitives with a simple modifier. I also used texture maps for the shaders.
Part of the Tasty Series.
This didn’t come out as fast and easy as I thought it would, mainly because of the cloth simulations. But I managed a good result and it looks tasty.
I modeled everything except for the grass and wheat, applied a cloth simulation and weight painted the collision areas, then made vertex groups, then returned to weight paints. It took a while and several tries to get an acceptable simulation.
For this scene I wanted to make a dungeon in the desert but felt like making a more tropical look would be better, something you’d see in the Uncharted games perhaps.
I made a worn brick texture and built the wall, then added the bars with a rusty metal texture, for the scenery I used some striking mountains, a watchtower, part of the Penella Castle and the moon, then connected Quixel Bridge to add plants that would later be turned into a lot of “palm trees” with a particle system plus a bone to not have an entirely empty space. Then used volumetric clouds for distance and fill and made a couple of spider webs; for the left one I turned the mesh to volume.
The original idea for this project was The rooted Sword, which in the end turned out as a root and not an ent because while blocking out the main shape I got an interesting looking root, but now it was time for the ent.
Done in Blender, I followed the same formula of blocking out with Metaballs or Curves and then sculpting out the details , then hand painted the textures.
The Old Testament holds some very interesting passages, and odd descriptions. One of them being this, the Ophanim, an angel. God knows what was going on back then, but those descriptions are awesome.
I’ve seen a bunch of depictions of the Ophanim, some very good and some not so good, and while I liked mine it felt like something was missing. Nonetheless it was a great project.
Done in Blender, used a bunch of nodes to make the textures, the main “rings” are made of bone, the torn flesh was made with a plugin called By-Gen, and the eye was done with a bunch of nodes to get a procedural look (tutorial). The fetus inside of it all was blocked out with Metaballs, then turned to mesh and applied an Emission Shader.
I animated each eye individually except for 3-4 that are following the camera.
I wanted the torn flesh to flap around like wet cloth but it were too many calculations for my computer.
This was a weekly challenge where we had to do something about “the micro cosmos” or something really tiny. So I thought about going for an electronic microscope look and this was the result.
I wasn’t really trying to copy anything that exists, maybe those regular “amoebas” and the bubbly cells.
To make that shader I mixed a dark rough Principled BSDF with a Layer Weight and an Emission Shader node, then adjusted accordingly. And for the almost noticeably background I made a dark Voronoi Texture connected to Color Ramp nodes.
For the “amoebas” I added a Noise Modifier to each scale value.
I made this scene only to make sure that my workflow was “alright”, because last time felt like my computer was giving up on me. And everything turned out just fine.
Done in Blender and Quixel.
I wanted to set a castle in a dark environment with the classic huge full moon in the background. Making the whole thing wasn’t hard but making a whole castle out of a simple silhouette prove to be more complex that expected.
This project was pretty straight forward until I got to the texturing part. After the Rooted Sword I wanted to make more handpainted textures in Blender but also wanted to try new things, and so I felt like trying to achieve certain patterns with nodes. Unfortunately I couldn’t get the look I wanted but it gave the low poly meshes some extra volume and details which were good enough. I wasn’t going to make any closeups so I didn’t really need much details anyways.
The moon is a gigantic sphere with an intense Emission Shader, which looks even better with the world Volume Scatter.
This was inspired “Promises”, an album by Floating Points, Pharoah Sanders & The London Symphony Orchestra.
It was a very simple approach; emission shader sun, particle shader asteroid belt, procedural “planet” shader, and a volume box for the inside of a nebula.
Continuing the Environment Design Path I thought about a cavern with a beheaded statue.
I used Quixel to transfer the rocks and shaders to Blender, and the composited everything there.
It took me some time to achieve the lighting that I wanted because I couldn’t figure out why it wasn’t behaving like I wanted to, until I noticed that (as usual) my meshes were way too big. A quick scale-down did the trick, even managed to achieve the look I wanted from Cycles on Eevee.
This was my very first Lipsync Exercise, an extract from Watchmen.
The 3D model is a free character called Norman, I animated it in Maya.
Instagram link
Ever since I first saw this ring I wanted to model it, it’s from a movie called The Castle of Cagliostro.
I made it in Blender with curves and single verts, and the other 2 shapes are primitives. Then for the shader I looked for a gold-ish look and added specular maps to give it some extra realism.
Jorûndr is the name I gave my very first viking character back in 2010, and it’s the same ame given to The smith’s character. I think this might be one of the oldest ideas I have on my portfolio as I made this drawing 11 years ago.
I modeled everything except for the grass, which is a plane with texture and a particle system turned to hair, and then went ahead to try 3D Coat. I want to up my texturing game and will be trying some programs, the first I downloaded (which is free) is ArmorPaint but as I’m new to this I felt the program extremely clunky especially because it’s supposed to work side to side with Blender. I’ve watched a comparison video and this guy says that it’s a pretty good program but I just passed. 3D Coats feels pretty good so I might buy it, that or Substance Painter. Another free one I found is Quixel Mixer so I’ll be trying it as well.
Zuma is a Mexican brand that distributes containers/trashcans, established in Querétaro.
I was given pictures and some blueprints to 3D model their best selling containers and make a promotional informative video for the clients website. The original idea was to make realistic renders but wasn’t really necessary at the time.
I modeled and rendered them in Maya and composed everything in After Effects.
The Dream Knitter is a concept fake product for a frequencer machine which emitts a variety of waves that’ll help you sleep and have a threshold level of dreams; developed by Mind Co.
It has 5 different modes: Passive Imagination, Illusions, Hallucinations, Regular Sleep, and Fast Sleep.
Each mode can be adjusted according to your needs directly in the machine or via the app in your smartphone, where you can also create different profiles for different situations.
The Dream Knitter does not damage you brain in the long run, it does not cause any kind of addiction or have any type of negative effects in your mental and overall health.
This was the intro scene idea for the SELF Eurostars video I did. It didn’t go far because, obviously, it was rejected but mainly because I had too much to do and at some point I totally forgot about it; I like to finish even the rejected projects I already started.
Making this was quite simple, I used the already modelled tube and put it in different scenes inside of Blender with the same settings except for the environments. One I downloaded from Sketchfab, another one was done with height maps, another one with a displacement modifier, and the last one with a vanilla Blender feature. I downloaded all of the textures from the internet.
For this one I thought about aking a simple light study in a random room, I used Quixel Bridge to import the assets.
An Ocean Lookout inspired in Wind Waker and done in Blender when I was still learning the program.
This is part of Grant Abbit’s Learning Series and it was a great one, everything is low poly which makes things much easier to understand until the point where we had to make the animated water.
The meshes have nothing more than very simple materials for the look and a couple of extra worned out details done with the Knife Tool. The ocean has a glass-type material made to look somewhat like water.
I added bones to the flag, hanging rope, boat rope, and shark for very simple animations. Then limited the skinning with Vertex Groups for the boat rope. And animated the boat in relation to the waves.
For the ocean waves animation I used a Displacement Modifier and limited the strength, then a Curve Modifier that controled the Offset property in a circle motion so that the waves could loop.
My first attempt at a night scene, some time ago I did this house out of boredom and it was the perfect time to translate it into 3D. I’ve always liked the steepy triangular modern-ish “Viking” houses.
Done in Blender, low poly, basic color shaders, Volume Scatter for a thick ambience.
The Shale Valley is a place from vivaellipsis’ imaginarium, he asked me to conceptualize the idea of this place of which I had different aproaches to. He’s still making changes to the place so the final result may vary.
I wanted to create the environment inside of Blender with the help of Quixel, which in my opinion turned out extremely nice as a workflow. I ended up not further adding details because my mesh positioning and sizing was not that good, I even have to reposition and resize everything for the file to run smoother and I unfortunately lost some of the depth.
I rendered every layer pass differently and used Photoshop to composite the whole thing, plus added the extral details.
Later I felt like trying a Matte Painting with a new concept art, and this was the result.
I never really got into particles and simulation but have wanted to make lava ever since I Learning Blender Day 1, and here’s my attempt. I also felt like modeling a Demon’s Souls weapon called the Dragon Bone Smasher, which was greatly improved in the PS5 version.
I made a rocky texture using only nodes instead of painting textures over both the sword and base, and for the lava I tried to make a liquid as dense as possible and then apply a bunch of nodes for the lava look, taken from a tutorial.
Besides the lightning I used a Volumetric Scatter for a hot red ambience.
I felt like making a blacksmith workplace and add it to the existing viking house, but change the setting to the Faroe Islands.
There are no textures but a bunch of nodes in here, and hair particles for the grass. It was pretty fun watching tutorials and making my own variant of existing nodes.
I couldn’t figure how to make the grass look exactly as I wanted without crashing the program, because I also wanted it to be extremely abundant.
I also went a step further and gave everything a Toon Outline by using the Solodify Modifier, and it looked nice. It was a test that made it to the very last render.
A quick animation test done with The Smith’s main character, Jorundr. I wanted to see how would the credits look over Jorundr doing a bunch of things rather than have a black screen with white letters.
In the end it was simply better to use the traditional credits.
Done in Maya, rigged with AdvancedSkeleton.