2019
2019
2019
2019
2019
Darksiders 2 / Death's Mask
Darksiders 2
/ Death's Mask
Darksiders 2
/ Death's Mask
Darksiders 2 / Death's Mask
Darksiders 2
/ Death's Mask
3d Modeling
Digital Sculpting
Texture
Lighting
Animation
Particles
3d Modeling
Digital Sculpting
Texture
Lighting
Animation
Particles
3d Modeling
Digital Sculpting
Texture
Lighting
Animation
Particles
Creative Direction
Branding
Website Design
3d Modeling
Digital Sculpting
Texture
Lighting
Animation
Particles
A 3d sculpting exercise that transformed into a more detailed project. This mask is from one of the four horsemen in THQ's Action Adventure videogame 'Darksiders 2'.
A 3d sculpting exercise that transformed into a more detailed project. This mask is from one of the four horsemen in THQ's Action Adventure videogame 'Darksiders 2'.
A 3d sculpting exercise that transformed into a more detailed project. This mask is from one of the four horsemen in THQ's Action Adventure videogame 'Darksiders 2'.
A local freelance accountant in Epsom approached us needing a rebrand of their identity.
The brand was given a bright color scheme in relation to the owners' positive and friendly attitude. An entirely new brand was created, which included business cards and a website.
A 3d sculpting exercise that transformed into a more detailed project. This mask is from one of the four horsemen in THQ's Action Adventure videogame 'Darksiders 2'.
Final Render
Final Render
Process
/ Reference & Research
When I discovered the sculpting feature in Cinema 4D, I decided to take on a project to practice and develop my skills. This led me to search for reference images that would help me sculpt the mask more accurately.
Process
/ Reference & Research
Upon discovering the sculpting feature in Cinema 4D, I decided to give myself a project in order to practice and learn the technique. With that came the search for reference imagery to help me sculpt the mask effectively.
Process
/ Reference & Research
Upon discovering the sculpting feature in Cinema 4D, I decided to give myself a project in order to practice and learn the technique. With that came the search for reference imagery to help me sculpt the mask effectively.
I wanted to create Death's mask from the video game, but simply recreating the low-poly version felt too ordinary. To make the project more challenging and unique, I decided to aim for a more realistic approach.
While I wanted to create Death's mask from the videogame, recreating the low-poly version wouldn't be unique. So as a challenge, realism was the preferred method for this project.
While I wanted to create Death's mask from the videogame, recreating the low poly version wouldn't be unique. So as a challenge, realism was the preferred method for this project.
Process
/ Modeling
Modeling in a 3D space can be challenging depending on the object and technique used, but I found digital sculpting to be both relaxing and enjoyable. As a beginner, I was pleasantly surprised by how intuitive the surface refinement process felt. I had recently tried traditional clay sculpting in a class, and while I appreciated the hands-on experience, I struggled with building and shaping the clay due to my inexperience. In comparison, digital sculpting felt much more accessible and easier to control.
Modeling in a 3d space can be a challenge depending on the object and method being used but digital sculpting felt therapeutic and fun. Being my first time, I found refining the surface very intuitive.
I tried sculpting with my hands in a class recently and found building up the clay and modeling challenging due to my amateur skills but in comparison, digital sculpting felt easier.
Process
/ Modeling
Modeling in a 3D space can be challenging depending on the object and technique used, but I found digital sculpting to be both relaxing and enjoyable. As a beginner, I was pleasantly surprised by how intuitive the surface refinement process felt. I had recently tried traditional clay sculpting in a class, and while I appreciated the hands-on experience, I struggled with building and shaping the clay due to my inexperience. In comparison, digital sculpting felt much more accessible and easier to control.
Process
/ Modeling
Modeling in a 3d space can be a challenge depending on the object and method being used but digital sculpting felt therapeutic and fun. Since this is my first time, I found refining the surface very intuitive. I tried sculpting with my hands in a class recently and found building up the clay and modeling challenging due to my amateur skills but in comparison, digital sculpting felt easier.
I still have a lot to learn when it comes to 3D modeling and mastering different techniques, but digital sculpting is definitely a style I’m eager to refine. I’ve heard a lot about ZBrush and its impressive capabilities, so I’m excited to give it a try in the future.
I still have a long way to go regarding 3d modeling and mastering the various techniques, but digital sculpting is a style I will refine in the future. I've always heard about ZBrush and its capabilities, so I will try it out.
I still have a long way to go regarding 3D modeling and mastering the various techniques, but digital sculpting is definitely a style I will refine in the future. I've always heard about Zbrush and it's capabilities, so I will definitely try it out.
Process
/ Texture & Lighting
For texturing and lighting, I chose to use Solid Angle's Arnold Renderer, known for consistently delivering impressive results. Since I wanted to explore its various features, I dedicated several hours to watching tutorials to deepen my understanding and effectively use the software to achieve my desired outcome.
The images on the left display render tests focusing on textures and lighting. The first image features a bone texture applied to the mask, illuminated with a 3-point lighting setup. The second image showcases a burnt, scarred, and aged mask texture, tested with different lighting compositions to create a moody atmosphere.
For texturing and lighting, I decided to use Solid Angle's Arnold Renderer. The results achieved with this rendering software have always been impressive, and I wanted to become familiar with as many of them as possible. Learning anything new takes time, so I watched several hours of tutorials to understand how it operates, in order to utilize its many features to acquire the desired result.
The images on the left show render tests of textures and lighting. The first shows a bone texture applied to the mask with a 3-point lighting setup. The second image shows a burnt, scarred and aged mask texture with different colored lighting to acquire a moody result.
For texturing and lighting, I decided to use Solid Angle's Arnold Renderer. The results achieved with this rendering software have always been impressive, and I wanted to become familiar with as many of them as possible.
Learning anything new takes time, so I watched several hours of tutorials to understand how it operates, to utilize its many features to acquire the desired result.
The images above show render tests of textures and lighting. The first shows a bone texture applied to the mask with a 3-point lighting setup. The second image shows a burnt, scarred, and aged mask texture with different-colored lighting to acquire a moody result.
3 Points of Moody Light.
One material with several nodes.
One material with several nodes.
One material with several nodes.
One material with several nodes.
Process
/ Particles
Incorporating flames and burning embers was essential to give Death's mask more depth, especially since I wasn’t including a full-body character. By using the emitter system, I was able to generate dynamic particles that created embers and explosive sparks from the eyes, adding a dramatic effect.
Process
/ Particles
Adding flames and burning embers to the project was a must to give the mask of Death depth since I wasn't adding a full-body character to accompany it. Using the emitter system allowed me to create some dynamic particles for the embers and exploding sparks from the eyes.
Process
/ Particles
Incorporating flames and burning embers was essential to give Death's mask more depth, especially since I wasn’t including a full-body character. By using the emitter system, I was able to generate dynamic particles that created embers and explosive sparks from the eyes, adding a dramatic effect.
Process
/ Particles
Adding flames and burning embers to the project was a must to give the mask of Death depth since I wasn't adding a full-body character to accompany it. Using the emitter system allowed me to create some dynamic particles for the embers and exploding sparks from the eyes.
The particle count I used during research and testing delivered impressive results, but unfortunately, my system couldn’t handle the sheer volume of particles alongside Turbulence FD’s simulation.
This challenge turned out to be a valuable exercise in optimizing the project to achieve the desired outcome within the limits of my hardware.
The number of particles used in research and testing gave great results but unfortunately, my system couldn't handle the immense number of particles in conjunction with Turbulence FD's simulation.
This was a good exercise in optimizing the project
in order to get the required result with limited
hardware specs.
The particle count I used during research and testing delivered impressive results, but unfortunately, my system couldn’t handle the sheer volume of particles alongside Turbulence FD’s simulation.
This challenge turned out to be a valuable exercise in optimizing the project to achieve the desired outcome within the limits of my hardware.
The number of particles used in research and testing gave great results, but unfortunately, my system couldn't handle the immense number of particles in conjunction with Turbulence FD's simulation.
This was a good exercise in optimizing the project in order to get the required result with limited hardware specs.
Using Turbulence FD was a great experience for creating flames and small explosions for the eyes. While it took some time to optimize and achieve the desired result, it also gave me the flexibility to adjust the flame colors to match the character's signature emerald flames from the video game.
Using Turbulence FD was a great experience in creating flames and small explosions for the eyes. It still took some time to optimize and get the required result but it also allowed me the option to change the color of the flames to reflect the characters emerald flame seen in the videogame.
Using Turbulence FD was a great experience for creating flames and small explosions for the eyes. While it took some time to optimize and achieve the desired result, it also gave me the flexibility to adjust the flame colors to match the character's signature emerald flames from the video game.
Using Turbulence FD was a great experience in creating flames and small explosions for the eyes. It still took some time to optimize and get the required result, but it also allowed me the option to change the color of the flames to reflect the character's emerald flame seen in the video game.
deuxmckays@gmail.com
deuxmckays@gmail.com
© deuxmckays 2025.
© deuxmckays 2025.