Sculpting

Sculpting is the part of my work where I stop thinking in polygons and start thinking in forms. I use ZBrush to bring the details that a hard surface model or a base mesh cannot carry on its own, such as battle damage on a tank, the wear of a surface, the anatomy of a creature and the subtle irregularities that make a glass facade believable. As a 3D Artist, I also sculpt organic characters and creatures, from early design exploration to production assets, and I refine characters built from full-body scans where the raw capture needs it. Sculpting only helps a production if it travels well. I extract vector displacement, displacement and normal maps so the detail survives on lighter geometry, and I decimate high resolution models while preserving their UVs so texture artists can bake what they need. That preparation is often invisible, but it lets the next department start straight away instead of fixing data. Above all, sculpting is a way to add intent. A few well-placed forms can tell more about an object's past than any amount of noise, and knowing where to stop is as important as knowing where to start

Sculpting: 21 professional productions at 12 studios, including “The Acolyte - Season 1”, “Carrie - Season 1”, “The Little Mermaid” and “On Running”