Personal project to study about 3D character design for games.
My role: Character design, modeling, re-topology, UV layout, texturing, render, post-production, logo design.
Total tris: 14.376.
Tools: Zbrush, Photoshop, 3DSMax, TopoGun, xNormal, Marmoset Toolbag.

InCG Magazine – 2014 . Issue 18

Location: Taiwan | Published: March 2014 (Issue 18) | InCG Website | Magazine Cover | Verold Studio
My artwork and website were featured in an awesome article about 3D Tools For Web with Verold Studio in the InCG Magazine, issue 18 (March 2014). Thanks Verold and InCG Magazine!

Eye For Games Magazine – 2013.1

Location: Amsterdam – Netherlands | Published: Apr 16, 2013 | Online magazine link | EFG Website
My work was featured in the cover of the Eye For Games Magazine 2013.1. Also, I had the opportunity to give an interview in the pages 29 and 30.

Bob Bump Turntable


High-Poly model

Low-Poly Model

UV Layout

I did the UV layout inside the 3DSMax. While this model is symmetrical the texture is not. So, I just shared the same UV space for the arms and legs. Also, I mirrored some parts of UVs 0-1 out of the UV map just in case to help bake textures like Normal map later on.

I have used a Checker map to see the resolution sizes and check if it has any distortion on UVs. I let more resolution for focal points like the head and the cap.


I did the Polypaint in Zbrush for diffuse texture. Also, I did baking textures with Topogun to create Color map, Normal map and AO map. After, I finished the textures with Photoshop.

Body texture maps

Here are all the maps that I used for the body. To have better details I created first at 4096×4096 resolution, but after I did tests with 2048 X 2048 resolution and it worked just fine.

Props texture maps

Here are all the 2048 X 2048 resolution maps that I used for the props, like the wooden bat and the ball.

Body – breakdown texture

I used the Marmoset Toolbag 1, to create materials, test the maps on the model and create dynamic lights in the scene. Here are the texture breakdown and screenshots from Marmoset from my firsts tests.


I was looking for a strong silhouette that would be clearly identifiable at first glance.


Wire-frame rendered inside the Marmoset. Total triangles: 14.200.

Rendering the final image

The final images was rendered inside the Marmoset using dynamic lights.

Just to give him a place to stand and bring a better mood to the scene, I created the floor and background in Photoshop.

I want thank you my mentors Fabio Doná, Cezar Brandão and for all those who have supported me in this project.