Portfolio 2025
Since starting my studies, I have been working more intensively on larger projects as part of my semester work. Many of my current pieces were created in an academic context, requiring not only technical execution but also creative concept development. This category represents my current level as a 3D artist and the practical application of the skills I have acquired so far.
024 Element Gun
024 Element Gun [Semester Project]
At the beginning of my studies, I created a weapon as part of a semester project. The goal was not only to design an appealing model, but also to integrate texturing with Substance Painter into my workflow for the first time.
Through this project, I gained valuable first experience with texturing at a professional level. I learned how to represent materials realistically and appealingly, use smart materials effectively, and apply AO and normal maps to give the model more depth and character. The combination of modeling in Blender and texturing in Substance Painter allowed me to achieve a significantly higher visual quality compared to my earlier projects.
This project marks an important step in my development as a 3D artist — both technically and creatively.
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025 Game Teaser - The Vanishing Room
025 Game Teaser - The Vanishing Room [Semester Project]
As part of a semester project in Game Visualization, I created a short atmospheric teaser animation for the fictional game The Vanishing Room, which I designed for the module Dramaturgy and Storytelling. The story is set in the Soviet Union of the 1980s and addresses a grim reality of state arbitrariness, corruption, and organized crime hidden behind the façade of a so-called ‘re-education boarding school.’
The teaser deliberately avoids explicit explanations and instead relies on subtle visual storytelling: In an abandoned-looking classroom, a teacher is seen routinely grading papers. When she comes across a student’s name, she pauses, crosses it out in red ink, and places the notebook in a drawer. Inside, a collection of other crossed-out notebooks is revealed. With a faint, meaningful smile, she closes the drawer — leaving the viewer with questions and a haunting impression of the institution’s hidden structures.
In this project, my focus was on cinematic staging, suggesting rather than explaining, and using light, camera perspectives, and facial expression to create a threatening atmosphere and tease the core themes of the game world without revealing its full narrative.
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026 Demon Waitress
026 Demon Waitress
In this project, I once again sculpted and animated an original character to further develop my skills beyond my studies. I placed particular emphasis on creating expressive and dynamic animations.
After the sculpting stage, I followed the full pipeline including retopology, rigging, weight painting, and animation. In addition, I created custom textures in Photoshop — for example, the playing cards — to add more visual variety and detail to the project. The goal was not only to build a visually appealing model but also to present its movements in a believable and polished way.
Through this project, I was able to strengthen both my understanding of body mechanics and my technical confidence in the animation process.
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027 Game Teaser - The Plaque Doctor
027 Game Teaser - The Plaque Doctor [Semester Project]
For another semester project, I created a game teaser for an experimental game concept. While the game itself is still in an early idea phase, the teaser already serves as a visual and atmospheric foundation for a possible narrative setting.
The scene shows a plague doctor working in a dark room filled with alchemical and chemical instruments. The mood is eerie — dim lighting, glass containers, and mysterious apparatuses set the tone. Suddenly, the door behind him creaks open. The plague doctor flinches, freezes mid-motion, and slowly turns toward the door. After a brief pause, he reaches for a cleaver lying on the table beside him — tension builds — and the teaser ends there.
This project allowed me to explore atmospheric lighting and subtle character behavior in depth. My goal was to build a dark, cinematic atmosphere with minimal means — one that sparks curiosity and leaves room for interpretation.
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028 Character Sculpting Practice
028 Character Sculpting Practice
In this project, I created a character from the initial design to the final execution. My focus was on depicting realistic and believable clothing folds to make the silhouette and fabric behavior appear more natural and lifelike. This project helped me deepen my understanding of cloth dynamics and form.
Even though the final result still leaves much room for improvement, it represents an important milestone in my journey as a 3D artist.
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029 Rigged Motorcycle
029 Rigged Motorcycle
In this project, I modeled and rigged a motorcycle and textured it in Substance Painter. The main focus was on procedural animations: the wheels rotate automatically based on the object’s forward movement. Through this project, I was able to strengthen my hard-surface skills, expand my knowledge in Substance Painter, and gain my first practical experience with more complex procedural animation.
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030 Apocalyptic Gun
030 Apocalyptic Gun
In this project, I modeled a stylized rifle while deepening my knowledge of the bevel modifier. I then animated the weapon using drivers, expanding my skills in procedural animation.
The animation is set up so that when the trigger is pulled (rotating 30°), the magazine drum, stock, and barrel move along with it. I placed particular emphasis on authentic, realistic, yet visually appealing movements to make the model feel more alive.
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031 Engineer Gunner
031 Engineer Gunner
In this project, I created a post-apocalyptic gunner character from the ground up — including design, modeling, sculpting, texturing, rigging, and more.
My focus was on improving my design skills by making conscious choices to create a visually appealing character whose appearance — clothing, accessories, and posture — reflects a clear, tough, and adventurous personality. At the same time, I wanted to expand my texturing abilities: the textures were created in Substance Painter and then assembled into different texture sets in Photoshop. A key element was baking normal maps, where I transferred details from high-poly sculpts onto low-poly meshes. This way, the character retains detail in a low-poly version while being optimized for use in video games.
As a complement, I integrated the weapon I had modeled in a previous project to complete the overall look.
I encountered some challenges with weight painting, particularly in complex poses and movements. However, this process showed me the importance of clean topology and patience in fine-tuning — a learning step I aim to apply more deliberately in future projects.
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