Demonic Battle Axe: Asset Pipeline
I created this demonic battle axe for our dark fantasy project to showcase a complete asset creation pipeline. I started by modeling an optimized low poly base in Maya. Next, I sculpted the high poly version with intricate engravings and battle damage. Keeping the high poly mesh exactly as it was without altering its topology, I baked the geometric data directly onto the low poly mesh inside Substance Painter. Finally, I authored custom PBR materials using multi layered masks to achieve a realistic weathered steel look.
Mobile Stylized Magician: Low Poly Optimization
For this project, I designed a mobile optimized magician character built specifically for tactical strategy games. I kept the geometry extremely light, coming in at just 1241 triangles, ensuring peak performance on any device. I modeled the base in Maya with clean topology and focused on a strong silhouette that reads clearly from a top down camera angle. The stylized textures and thick outlines give it a bold cartoon look that pops perfectly on small screens.
Shattered Stone Knight: Environmental Storytelling
For this environmental asset, I created a shattered stone knight statue to enhance the dark fantasy atmosphere of our game. I wanted the kneeling pose to tell a silent story of a defeated warrior.
I modeled the base mesh in Maya and intentionally broke it apart into floating fragments alongside a discarded helmet and a broken sword. Despite all the scattered pieces and details, I made sure to keep the topology highly optimized at exactly 3462 triangles. To give the asset a corrupted and demonic feel, I textured the cold stone with glowing red cracks that emit magical energy. This combination of optimization and storytelling makes it a perfect set piece for our haunted environments.
Boomer Shooter: First Person Viewmodel
I created this low poly weapon and arm rig for an indie first person shooter prototype I developed alongside a five person team. Because the project mixes a 3D environment with 2D animated enemy sprites, the player’s viewmodel needed to perfectly match that classic retro aesthetic. I modeled the stylized revolver and hands in Maya, keeping the geometry heavily optimized for fast gameplay. The gun sits at just over 3000 triangles and the arms at roughly 1500 triangles. This ensures a clean and bold silhouette right in front of the camera without wasting performance.
Stylized Tree: Rapid Optimization
I had a single day to generate a massive batch of environment assets. The goal was pure performance, not geometric perfection. I modeled this tree in Maya with a heavily reduced topology to keep it extremely lightweight. Once inside the engine, a custom shader takes over to provide the stylized look and seamlessly integrate it into our dark environment.
Stylized Sword: Wireframe and Optimization
I designed this stylized sword specifically for real time gameplay. Modeling in Maya, I focused on creating a sharp and angular silhouette that stands out during combat, while keeping the topology extremely clean and lightweight. As the wireframe stats show, the final mesh sits at exactly 1972 triangles and 1000 faces. This strict level of polygon optimization ensures peak engine performance and fast rendering without sacrificing any of the weapon’s bold visual character.
From Concept to 3D: Surreal Environment
Translating 2D designs into fully realized 3D spaces is a crucial pipeline skill. This slide demonstrates my ability to take initial sketches and concept art and bring them to life. I modeled the surreal landscape, unique characters, and environmental props directly in Maya. My focus was on capturing the exact artistic vision and bizarre atmosphere of the original concepts, all while delivering optimized and game ready topology for the engine.
Stylized Maleficent: High Poly Sculpt
This stylized take on Maleficent was created purely as a high poly showcase piece. Unlike my game ready assets, the goal here was strictly visual exploration and sculpting fine details without worrying about polygon counts or engine optimization. It allowed me to focus entirely on form, silhouette, and character expression to achieve a high quality render.
The Haunted Cabin: Full Environment Pipeline
For my graduation project, I built a complete dark fantasy diorama titled The Haunted Cabin. My goal was to execute a full environment pipeline from scratch. I started with modular blockouts and careful UV mapping for the structural pieces. To efficiently build the scene, I utilized MASH networks in Maya for the procedural distribution of scattered meshes and wooden walkways.
For the surfaces, I sculpted high poly seamless textures in ZBrush to ensure perfect tiling across large areas without any visible repetition. I then brought everything into Substance Painter, building complex layered PBR materials for the props, rocks, and cabin structures. Finally, I assembled the entire scene in engine, integrating custom shaders, atmospheric lighting, and fire VFX to bring the haunting visual flow to life.