Exploration Suit - EVE

Concept and game model I recently did for EVE. The idea for the design was based around the planetary exploration theme, while keeping a similar language to the previous Combat Suit. This started with a blockout, then followed with a series of paintovers to establish the flow of the main lines and create a one piece feel between the top and bottom areas.

The highpoly was modeled in ZBrush alongside with Blender for hardsurface parts. 
The textures and the variations for the different factions were done in Substance Painter.


Sleeper Vat Suit - EVE

This suit was designed for Sleeper body that is connected to the Canopic Vat Module I created earlier.
Modeled in ZBrush and rendered in Vray

Male Character Portrait

This is a cinematic character project I have been working on recently. I wanted to explore a few sculpting and detail transfer solutions, along with hair styling workflows between ZBrush and Maya, and skin and hair shading in Vray. 

The hair guides were created in ZBrush using Fibermesh and were used to drive the hairstyle in Maya. The XGen setup is mostly procedural and consists of a couple of modifiers driven by custom expressions that output values based on the hair length. 

The head model was baked in Zbrush with the Multi Map Exporter onto an animation ready mesh, and rendered using displacement maps. 


3dtotal Interview

The interview I did for 3DCreative Magazine is now available online on 3dtotal.


Eve Online - Combat Suit - Game Model

Low poly - Game model

Screenshots from Marmoset including a couple of texture and material variations that represent different factions from EVE.


Combat Suit - High Poly


Highpoly 3D model of the Female Combat Suit from EVE Online. This was used for baking the game model. 

The initial blockout was done in Zbrush. Retopo and detail passes done in Zbrush and Blender. Rendered in Cycles


Combat Suit - Concept Art

This is a design I made for EVE Online. The combat suit is meant for out of pod combat situations, and it follows the design aesthetics of the Caldari State.


Sleeper Canopic Vat Module

Concept and highpoly model for EVE. 
Modeled in Zbrush and rendered in Keyshot


Vertex - Pattern Drafting in Marvelous Designer and Zbrush 

If you are interested in pattern drafting for custom designs, then you can find an article I wrote in the latest edition of Vertex from Art By Papercut.


Vertex 3 is one of the best CG publications and it’s packed with learning content from professionals in the games industry.

You can download it for free at:


Cycles - SSS Skin Shader

For the last few days I’ve been testing Cycles, which is a fairly a new unbiased CPU/GPU path tracer renderer for Blender, available alongside Blender’s internal engine. When combining its speed with the flexibility of Blender’s Shading node editor, it becomes a serious contender to Vray, Arnold, Keyshot, Octane or Corona, plus it’s Open Source and free.

While Cycles comes with basic shaders like Diffuse BSDF, Subsurface BSSRDF, Glossy BSDF (including the GGX Shading Model), etc, to create realistic materials you have to combine these together into more a complex Shading Group. Once created, this Shading Group can be easily reused and shared between scenes, and can be controlled with a set a variables that you decide to expose to the end user. 

   In this example I am mixing together two Subsurface shaders, a Diffuse shader, and a GGX Gloss shader. To get a red scattering lobe, I am overlaying the color inputs of the SSS shaders with two complimentary colors, slightly weighted towards red, and I am using two different scattering radiuses to simulate two skin layers. For the specular component I am remapping the fresnel node to allow individual control over the F0 and F1 parameters. 

I would like to thank Ten24 for providing this model.


Update (8-8-2016)

Skin Shader: - I’ve added a simple scele with just the skin shader so you can use it with your own models. 


Skin Shader and Model: was very generous to give away a Blender Render Scene complete with a free Head Scan and the Skin shader above. You can find it here:



3DCreative - Interview

The latest issue of 3DCreative magazine has a nice feature of my portfolio along with an interview.


3D Artist - Industry Insider

I had the honor of being interviewed by the 3D Artist Magazine for the Industry Insider section.
You can read about it in the 37’th Issue 


VRay - Physically Based Shader

I am currently working a Vray base shader for dielectrics and metals that has a similar response to the PBR implementations from Marmoset/Unreal/Substance. The purpose of this is to have a material that responds well in different lighting conditions, and that is driven by plausible parameters based on physical measurements. It currently supports both metallness/gloss and specular(F0)/gloss workflows, along with micro roughness control, and should make the texturing process a lot more easier and consistent between different projects.

Download: undoz_vray_PBR_simple_SHD.rar ( Please note that this shader was created before Vray supported Maya’s color management system. That’s why the shader is setup with gamma correction nodes. You can either disable the color management, bypass the gamma nodes, or set the texture color space to raw. Edited: 8-8-2016 )

Usage: Import the shader through the Maya Hypershade window (File>Import). 

The shader is made for LWF (gamma 2.2) and supports both mentalness and specular workflows. The fresnel component is remapped to allow full F0-F1 control, and the F1 component is sensitive to glosiness changes to account for the microfacet normal changes.



XNA Project II

Just finished painting the second character from the XNA series.


Saturated Carbon

Saturated Carbon

One year ago I decided to start a personal space on tumblr called Saturated Carbon while looking for new sources of inspiration, and trying to expose myself to something a bit different than the usual suspects like CGHub, CGSociety, Artstation, that probably most of us visit daily. Over the time this proved to be a very useful exercise and it is something that I regularly reefer to when I am in need inspiration, and which I try update whenever I stumble upon something appealing, be it fashion, industrial design, photography, movies or sketches. 


Photography - Iceland

Photography - Iceland

Finally went trough all the shots I took around Iceland in the last four years and made a selection for the website. Hope you’ll enjoy it!



Trying to do a bit more concepting in-between modeling sessions.


Hard/Soft Edges to Edge Creasing - Maya MEL

One of the modeling workflows that I frequently apply in 3ds Max is to use Smoothing Groups to act as a poor man’s creasing. That is done by stacking two Turbosmooth modifiers on top of eachother, with the first one having Separate By Smoothing Groups on and using the Iterations to control the crease amount. 

With the introduction of Pixar’s OpenSubdivs in Maya 2015, edge creasing becomes very appealing and in a lot of cases it can be a huge time saver. One of the major drawbacks I found was that the crease values are easily destroyed when using basic modeling tools, and rebuilding them is a pain in the ass.

With the script below I am replicating the same workflow by using Hard/Soft edges to store and control the creasing of the model. It basically adds a predefined creasing value to Hard edges and removes the creasing from Soft edges. 

I run this after I define the initial Hard/Soft edges, usually with Set Normal Angle, and whenever the edge creasing gets mangled by various modeling tools. The authoring is done only by using Harden/Soften Edge, or by using the commands from the Shelf attached at the bottom. 



global proc createCrease()
        float $creaseValue = 3;
	string $selEdges[] = `ls -sl -fl`;
        string $hardEdges[];
	polyCrease -value 0;
        select -cl;     
        int $i = 0;
        for ($edge in $selEdges)
                string $edgeType[] = `polyInfo -ev $edge`;
                if (`gmatch $edgeType[0] "*Hard*"`)
                        $hardEdges[$i] = $edge;
        select $hardEdges;
        polyCrease -value $creaseValue;
        select -cl  ;




 I recommend staying away from defining custom crease sets until you are done changing the topology of the model, and only worry about Hard and Soft edges. Maya’s tools are very destructive when it comes to maintaining crease values, and you will end up manually reassigning custom creases after each topology change. The default creasing value in the script is 3, so you can use safely use the H3 and Soft presets while modeling, in case you have to rebuild the creasing with the H/S script later on. These presets mark the edges as Hard/Soft at the same time


Please feel free to modify the scripts to your own liking!


Download: shelf_U_Crease.mel

To install, copy it to : Documents\maya\2015-x64\prefs\shelves


Zbrush Hard Surface Retopology

I received a few questions regarding my hard surface modeling workflows in ZBrush and I decided to record a short video showing my workflow of resurfacing a block-out / concept sculpt.