Wednesday, August 12, 2015


A few snapshots of my backlog of works based of original ideas #2. Maya, Zbrush. These are ongoing personal projects that I work on whenever time allows. Comments and critiques are welcome.

Monday, August 3, 2015

Contemporary character cloth & folds

A look at folds and rendering various types of cloth materials such as denim (pants), nylon (lining), cotton (Polo), linen (Blazer), leather and rubber (shoes). Modeled in Zbrush/Topogun - Textured in Mari/Photoshop - UV's in Roadkill -Rendered in Keyshot. Critiques are always welcome.

Thursday, June 25, 2015

3D PORTRAIT (Zbrush/Mari/Keyshot)

I have been busy trying out a new rendering pipeline with Keyshot. Model in Zbrush, Hair with Fibermesh. UV in Roadkill, skin and texture maps in Mari, Materials, lights and render in Keyshot, Post and image grading in PS. 

One interesting thing to note with this particular skin material is that it does not allow you to load a specific sub-surface scatter map. Instead I had to feed the shader with a solid color which  resulted in a skin rendition that was quite (surprisingly) convincing. Other peculiar aspect regarding the skin material is the absence of an "overall map" slot which essentially allows you to multiply down details lost because of the scatter (The Diffuse layer is simply added on top of the Scattered layer which makes it hard to recuperate details such as moles for example). This wasn't as big of a problem as anticipated but I still had to dial back some of the details in post.

 All in all, this new rendering pipeline has been remarkably efficient and intuitive and I can't see myself going back to Mental Ray anytime soon. I am looking forward to my next project, in the mean time I hope you enjoy this one.

Tuesday, July 8, 2014


The workflow goes as follows; Designed and sculpted in Zbrush, Topology in Topogun, UV layouts in Roadkill, Texture painting and projections in MARi, lighting, materials, and rendering in Mental Ray for Maya. Various passes are exported and composite in Photoshop.

The workflow is linear and the render passes are output as 32-bit float images. The crushed black and over-exposure were achieved in post-processing. Two lighting scenarios were used, one with strong directional lighting and hard shadows and the other with soft light and plenty of secondary bounce lighting. The harsh lighting scenario was down-sampled, Gaussian blurred and finally screen-ed in Photoshop on top of the soft lighting scenario to over-expose the face while retaining visible lines and shadow breaks; This allows to retain structure and populate the face with interesting shadow patterns. An overlay-ed high-pass filter in Photoshop is used to get back some of the crispness lost with the Gaussian.

The background is a collage of different textures, two for the wall, one for the rain drops, one for the vertical structure, and one for the window. A Photoshop lighting filter was used to light the background.

Final touch-ups includes slight gamma correction, a color balance and a noise filter to unify the composition and reinforce the “filmic” look.


A 3D portrait I have been working on, hope you like it.
(Zbrush, Maya, Roadkill, Topogun, MARI, Photoshop)

Sunday, October 13, 2013

About Me

My photo
I am a digital sculptor and 3d generalist with a profound fascination towards human anatomy, lighting and story telling. I was the lead artist and art director at Absurd Interactive on "This is not a ball game.", a title released this spring on iOS. I am currently living in Redmond, Washington,USA. I am fluent in French, Italian and English.