Portfolio 2026
Building on the foundations developed in previous years, 2026 marks my transition toward game-ready assets and game production. My work during this period focuses on creating optimized, production-ready content for game engines, combining artistic quality with technical efficiency. This category represents my current level as a 3D artist and the practical application of the skills I have acquired so far.
035 Stylized Shrine
For this project, I created a stylized shrine using Blender and Substance Painter, with a strong focus on optimizing the asset for real-time applications. The goal was to work within a low poly-count budget while still achieving a compelling visual result through stylized texturing.
I followed a complete high-poly to low-poly workflow: sculpting detailed geometry, baking those details to a low-poly mesh, and then building the final PBR texture set in Substance Painter. Throughout the process, I paid particular attention to material readability and clarity in a stylized context.
This project helped me deepen my understanding of real-time optimization, refine my UV and baking workflow, and expand my skills in stylized texture creation. While I’m satisfied with the overall outcome, I see clear areas for growth—particularly in texture quality and visual language. In future work, I plan to invest more time in color theory, lighting, and hand-painted/stylized texture techniques to further elevate my stylized assets.
Tools used:
036 Environment Props
In this project, I created a small set of stylized environment props with a strong focus on game-ready asset creation. The goal was to keep the polycount low while maintaining clear shapes and strong visual readability suitable for real-time applications.
I sculpted the high-poly details in Blender and baked them down to normal maps, which were applied to optimized low-poly meshes. The textures were created in Substance Painter, following a stylized painted texture approach rather than aiming for realism.
This project helped me strengthen my understanding of efficient asset workflows, normal map baking, and stylized texturing for games. It also allowed me to further refine my ability to balance performance and visual quality in real-time environments.
Tools used:
037 Eldritch Grimoire
This project is a stylized Eldritch Grimoire created as a game-ready 3D prop. The asset was fully modeled in Blender and textured using Substance Painter, following a PBR workflow with optimized textures and a low polycount suitable for real-time applications.
A key feature of this project is the custom prop rig, which allows the book to be opened and closed smoothly, as well as independent movement of the eye and the bookmark.
Tools used:
038 The Bleeding Ink [Game]
In this project, I created a narrative-driven „Noir“ environment from the ground up – including concept development, 3D modeling, texturing, and game implementation.
My focus was on improving my environmental storytelling skills by making conscious choices to create a space whose atmosphere reflects a dark and mysterious history. I started by developing a clear narrative idea and a detailed moodboard to define the visual direction. All assets were modeled in Blender, with a heavy emphasis on creating clean, game-ready topology.
While I had completed a previous project in Unreal Engine using primarily external textures, I wanted this project to be a deliberate step forward in my technical independence. Therefore, I challenged myself to create every single texture from scratch using Substance Painter. This allowed me to significantly expand my texturing abilities. By handling the entire texturing process myself, I gained a much deeper understanding of PBR workflows and efficient UV mapping.
At the same time, I designed custom UI icons in Illustrator and integrated a cinematic voiceover generated via ElevenLabs. Everything was then assembled in Unreal Engine, where I handled the lighting and programmed the interaction logic to turn the static environment into a fully playable experience. This process was a valuable milestone in managing a complete production pipeline.
Tools used:
039 Violin
For this piece, I used Blender for the complete modeling process and UV unwrapping, while the texturing and material creation were done entirely in Substance 3D Painter.
My focus was on consolidating my foundational 3D modeling skills by capturing the curves and anatomy of a real instrument.
I wanted this project to be a deliberate step forward in my texturing abilities. While I’m happy with the overall result, I know there is still room to grow, especially regarding realistic surface wear and the precise anatomy of the instrument.
Tools used:
