The Huntress
One character, shown at every stage, including the parts that usually stay in the file.
Systems work is hard to evaluate from a distance, so this entry does the opposite: one character, shown at every stage, including the parts that usually stay in the file. The wireframe rotation is here because topology and deformation are what a character technical artist is actually judged on, and a beauty render hides both.
I modeled and textured her body, her underwear, and the light green armor, and I rigged her. I built all the shaders on her, including the armor and skin, and I built eye shaders that catch light in the iris. I oversaw production on the character.
The dark green plate armor was modeled and textured by Charles Kim.
None. This work predates the tools by more than a decade.
She never shipped. Dark Abyss was cancelled during the Warner Bros. purchase of Snowblind, and the character went with it. What carried forward was the method: how the shaders were built, how the mesh and the rig were made to work together, and what both of those became on The Lord of the Rings: War in the North. The wireframe rotation survives as the clearest record of how she was built.
Modeling, rigging, and shading the same character closed a loop for me. Once I knew where the skin shader would break down and where the deformation would pinch, I stopped putting geometry where it would have to. The wireframe rotation on this page is my mesh under my rig.