Portfolio 2024
In 2024, I increasingly focused on character creation, sculpting, and animation. I began developing more complex characters, deepened my knowledge of sculpting, retopology, rigging, and weight painting, and worked intensively on character expression and movement. During this phase, I created many projects that allowed me to specifically advance my skills in organic modeling and character animation.
015 Character Sculpt - Zelda [Tutorial-Piece]
At the beginning of 2024, I dedicated myself to character creation with a particular focus on sculpting human figures. As an entry project, I sculpted the character Zelda with the help of a beginner tutorial series.
This project marked an important step for me, as it was the first time I could apply and deepen my basic knowledge of human anatomy and sculpting techniques. I learned to better recognize and create forms — from facial features to body proportions.
The Zelda sculpt was a milestone on my path toward developing more complex and expressive characters.
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016 Complex Sword [Tutorial-Piece]
In this project, I created a sword model with the help of a tutorial — this time with the goal of further improving my hard-surface modeling skills while intentionally integrating sculpting elements.
I also worked with textural details to create believable material differences and signs of wear. This project helped me bridge the gap between precise modeling and more organic forms, adding greater depth and visual complexity to my hard-surface work.
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017 Elf Warrior
In this project, I created a complete character sculpt entirely on my own — without a tutorial and based on a self-developed design. The goal was to handle the full creative and technical process from the initial idea to the finished character independently.
I applied my knowledge of sculpting, anatomy, and design to create a coherent and expressive character. This project was an important step in strengthening my confidence in my own style and in combining creative freedom with technical expertise.
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018 Horror Cabin
In this horror animation, the focus is on atmosphere and the viewer’s imagination. The camera remains static throughout the entire scene, fixed on an old wooden cabin with its door half open. Inside, you can vaguely see a man dragging something heavy from left to right — leaving only the unsettling impression that it might be a body.
This project was an experiment in visual storytelling through subtlety: instead of showing violence explicitly, I used light, shadow, and a limited field of view to create unease through suggestion. Even though I wasn’t fully satisfied with the man’s animation, this project was an important step in learning to use cinematic techniques more deliberately and building tension purely through staging.
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019 Female Gunner
In this project, I created a stylized character and deliberately chose a cel-shaded look to further explore non-photorealistic rendering. The focus was on simplified color transitions and achieving a cartoon-like appearance.
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020 Blender Animation Course by Bloop Animation [Course]
To further deepen my skills in character animation, I completed an online course by Bloop Animation. The course focused on timing, body dynamics, and clear movement language — key elements for creating believable and engaging animations.
As part of the course, I animated a short action sequence using a provided, fully rigged model. I learned how to convey movement fluidly, clearly, and with a proper sense of weight. A special focus was placed on working with the Graph Editor, where I fine-tuned motion curves to achieve smoother and more convincing animations. I also gained solid first insights into facial animation, learning how to express emotions more precisely and effectively.
This course was especially valuable in helping me apply animation principles more deliberately and approach my work in a more structured and professional way.
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021 Kaho Reinol Sculpt
For this project, I created a 3D sculpt of the protagonist Kaho Reinol from the game Momodora. Since Momodora is originally a pixel art game, my goal was to translate Reinol’s key characteristics into a 3D sculpt.
I shaped the forms and details of the character in a way that preserved the game’s visual style, while transforming the typical pixel structures into a three-dimensional design. This project was an exciting challenge that showed me good designs don’t necessarily rely on many complex details.
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022 Thunder Sonia Sculpt
For this project, I sculpted Thunder Sonia from the light novel Orc Eiyuu Monogatari: Sontaku Retsuden, aiming to portray the character in a dynamic and powerful pose.
Another focus was on the details of the clothing: I deliberately sculpted folds and fabric textures to emphasize the natural flow of the material and strengthen the visual impression of movement. This way, the character was intended to appear dynamic and organic not only through her pose but also through the design itself.
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023 Sculpting for Beginners Course by CG Boost [Course]
To further develop my sculpting skills, I completed the Sculpting for Beginners course by CG Boost. This course allowed me to significantly deepen my knowledge of sculpting and learn various efficient techniques that greatly improved my workflow.
I focused in particular on masking techniques, which enabled me to make precise and controlled adjustments to specific areas of my models. In addition, I learned how to use filters and a variety of sculpting tools effectively to integrate details more quickly and accurately. These tools and techniques have helped me make my sculpting process more professional and time-efficient.
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