Rodrigo Gonçalves 3D Digital Artist

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Rodrigo Gonçalves 3D Digital Artist

 

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Rodrigo Gonçalves is a Digital Artist focusing most in 3D Modeling & Texturing for Games and 3D illustrations.

Real-time model

Project to study about “3D characters for Games Next-Gen” done during the workshop with Gilberto Magno. Based on the Concept art of Riiick.

Thanks all friends who have supported me to be a better artist!

My role:
Modeling, re-topology, UV, texturing, render and post-production.
Tools: Zbrush, 3DSMax, VRay, Photoshop, After Effects, TopoGun, xNormal, Marmoset Toolbag.
Credits: Based on concept art of Riiick.

 


High-poly

Modeled with Zbrush and 3dsmax, retopology with Topogun. For rendering, I brought the decimation model from Zbrush, rendered with VRay and post-production with Photoshop.

Low-Poly

I did re-topology with Topogun. The Knight has 45.883 total triangles, while the Axe has 2.068 triangles.


Breakdown, tricks & tips




 

Bob Bump: Real-time

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 and Verold Studio.

InCG Magazine – 2014 . Issue 18

Location: Taiwan | Published: March 2014 (Issue 18) | InCG Website | Magazine CoverVerold 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


 

Breakdown

High-Poly model

I modeled and painted the high-poly version inside Zbrush.

Low-Poly Model

I did the re-topology inside the TopoGun to create a low-poly version and tweak the mesh inside 3DSMax. Total triangles: 13.736.

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.

Textures

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.

Silhouette

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

Wire-frame

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.

 

Nossa Senhora de Fátima

 

Personal project to study about 3D modeling with Zbrush. My tribute to “Nossa Senhora de Fátima” (Our Lady of Fátima).

My role: Modeling, render and post-production.
Tools: Zbrush, 3DSMax, VRay+Maya, TopoGun and Photoshop.

Modeled in Zbrush, some bases meshes were created with 3DSMax and re-topology for some parts were done with Topogun.
For rendering, I brought the decimation model from Zbrush, rendered with Maya+VRay and post-production with Photoshop.

 

Breakdown & WIPs

 

Cammy: Fan Art

 

Project to study about 3D modeling with Zbrush. I got inspired by the concept art of Adam Ford.

My role: Modeling, texture, render and post-production.
Tools: Zbrush, 3DSMax, VRay+Maya, TopoGun and Photoshop.
Credits: Project created for studies purposes only. Fan Art based on the Street Fighter series – © Capcom.

Modeled in Zbrush, some bases meshes were created with 3DSMax and re-topology for some parts were done with Topogun.
For rendering, I brought the decimation model from Zbrush, rendered with Maya+VRay and post-production with Photoshop.

Breakdown & WIPs

 

 


For the braid hair, I used this technique, but I created with 3DSMax and bring the shapes inside Zbrush. After, I blended the hair shapes with Dynamesh, then I used Zremesher and finished with details.

 

 

Gargoyles: Lexington – Fan Art

 

Project to study about 3D modeling with Zbrush. Based on concept art of Ryan Lang.

My role: Modeling, texturing, render and post-production.
Tools: Zbrush, 3DSMax, VRay and Photoshop.
Credits: Based on concept art of Ryan Lang.

 

High-poly

Modeled with Zbrush and 3dsmax, textured with Zbrush and Photoshop, render with Vray and post-production with Photoshop.

For clay rendering, I brought the decimation model from Zbrush, rendered with VRay and post-production with Photoshop.

Breakdown


 

Lexington. Still waiting for someone to wise up and make a Gargoyles animated movie. Somebody, go make some phone calls and get cracking. Until then, I’m just going to keep going with these paintings. I’m trying to do these so that, at the end, I’ll be able to have a nice line up. 8 more characters to go.

 

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