So, this week I had the great pleasure of being a part of the Game Mixer 2016 game jam here in Brazil! The Goethe Institut organized an amazing event where we got to talk face-to-face with german developers from the industry and work with them in a project.

My group ended up working in a PvP dialogue based game called “Pick Your Poison” where you play as a classy spy who is trying to poison your opponent by ordering food and being polite.

There was a lot of ideas that would make this project a really cool long term project, and I got to work with an amazing writer who was responsible for shaping up this universe in a really collaborative way, a sound designer who helped lot with the overall feel and direction for the art of this project, a hardcore programmer who added so much of our ideas in such little time, and a producer who not only also helped with the game design as well, but she made this whole project be an amazing and exciting experience from beginning to end. There’s still a lot of stuff we had to cut down due to time constraints for the digital version, but overall, it was a really satisfying project that made everyone work in a different angle and really pushed me out of that comfort zone.

I was responsible for the whole art in the project (sans background – stock photo because of time yadda yadda). There was a lot of trial and error – one of which involved me wasting a whole hour trying to vector this artstyle to get more of a Invisible Inc feel. Going back to 2D felt really satisfying, and is something I’ve been trying to work more since the event, so I can push to a better level overall.

You can try out the project here ( ), although it requires 2 players. Gameplay is also a little bit glitch and needs some more feedback, so we might get a more polished demo if the time allows us. Controls for P1 are Q to order a drink, W to order a food, A to pass your turn (so you don’t start eating the food), and hold shift before ordering a food or drink to poison it. Same thing applies for P2, except you use the I, O, L and Right shift, respectively. Build also required admin permission on my local pc otherwise it crashed, so we’ll look into that too.

This was an overwhelmingly great experience, and I thank everyone who was a part of it for the great talks, feedback and having a good time.

Until next time!

And last, but not least, a sneak peek on what I’ve been working on. It’s a mobile project where you can draw your own platforms. Heavily inspired by the Line Rider flash game.


Vertex Painting! Also, I’m back!

I have been silent for the past couple months, between a summer internship, moving back to Brazil, and working on school projects again, things have been definitely interesting and non-stop crazy. Still, I’d like to shed some more light on what I’ve been working on for the past month.

These are some characters I’ve been working on for a mobile serious game project, from the concept phase up to post-production in Unity. I’ve been developing them based on a Unite talk from Days of the Porcupine (, and it’s been a blast working on this workflow.

Texturing becomes a bigger part of your modeling workflow, and you don’t even need to lay UVs out, meaning you can model for a little bit and already start texturing midway through! Only downside is that details need to be modeled out, so your polycount will end up being a little bit higher, depending on your artstyle, but that’s all good, since that also means your colors will not look pixelated up close. Think of it as a 3D vector art style. This also allowed some hacks to be done, such as inseting the mouth so you get an anime-like mouth in all angles.

This also required a custom lighting model, so I basically made this shader in shaderforge which doesn’t take normals into account while calculating light on a model. It looks fairly close to the original concepts too, so it definitely tied things togheter.

There are a lot of people who apply this technique in a better way such as Chelsea Saunders (Pixelatedcrown), so I’m looking forward to pushing this to a new level in the future!

Gif Version:

It’s been a while since I posted anything. Work at the GApp Lab has been doing great, but I’ve tried to rest a bit during summer.

I’ll be dumping just some things from spring I didn’t get to show yet, but I’m looking forward to making more art now.

This is a WIP based on a concept from Marc Scott’s 1920 Adventures ( I haven’t started the hard surface assets yet, and the hair is just a ugly placeholder mesh, but it’s been a great experience working on characters.

Let’s get to it!

One of the projects I’ve been working on lately: A ballerina.

It’s been a blast working on it, and I feel like anatomy is a little bit more natural to me now, things actually make sense and we’re not aliens!
Turnaround gif here:

Going back to some concepting. Still pretty rough, but it`s always fun painting organic stuff.

Note: Carbonmade videos don’t have an audio slider option, so I apologize if the music’s too loud.

Back from GDC!

I just wanted to mention how awesome this whole week was. It’s amazing to be around the same artists whom inspired you to follow your career, and artists who have the same goal as you do. Just makes you realize how much people can improve and how long and worth this journey is.

As such, now that I am back, time to get back to work. These are 2 speed sculpts I did today focusing on the anatomy of the leg. It’s still weird… But getting there. I recorded a timelapse just in case anybody’s interested, but it’s just basic stuff. As always, used ClayBuildup, Move and zSpheres. Each one took 1:30 hours.

In the meanwhile, I’ll continue working on that skeleton project with the muscles, and finish building the arms and legs today.

Had some more time to work on it this weekend. ZModeler is such a cool addon for 4R7!

I’ll probably have to shelf this one for now due to GDC and final projects for school, so I figured I should make a quick breakdown.

For starters, the biggest challenge in this piece was by far, making the tubes. I was under the impression that the folds would be where I’d have to spend the most time in… Nope. I wanted to make sure I would be able to get a game ready asset without having to re-do stuff later, which would never work unless I used splines in Maya/Max as a base, but see how much I could do in a zBrush-only pipeline.

I knew something using a curve brush wouldn’t work for this project. It’s hard to get the right stroke and manipulate, and so easy to mess up. Also, you can either make it snap to the surface or follow your camera orientation, but not both. That was an issue. zSpheres would also take too much work to make the curves, and the final result wouldn’t look as smooth as I wanted it to be.

During my research, I stumbled upon Bezko, on zBrush Central. He had this awesome piece full of tubes made in zModeler. That’s when he wrote a little bit on his workflow, describing zModeler as the following:

“A powerful and effective modeling tool. When i am creating any kind of model i use Zmodeler as a base tool. Mostly i use 3 combinations of actions. base mesh= Qmesh; details=insert,inset; bridge=shape generator (just kidding but it works).”

This workflow is extremely efficient and saves a lot of time if you make the right preparations. zModeler allows you to bridge surfaces with different number of sides, but if you want a smooth surface when you subdiv, you need to bridge surfaces with the same amount of sides. That’s where Insert Multi Mesh comes in. You can instert multiple meshes you create as a base for the tubes, as long as they have a hole, meaning you can easily make sure you have a library that can be reused later and will be failproof for making the curves. If you need something more complex, you’ll have to use these meshes as ‘anchor points’ for the imaginary spline you’re creating when you bridge the meshes. Keep in mind that this will require some tweaking, as zBrush splines are really limited and cannot be modified. At this point, you should consider whether or not to create the meshes in zBrush or just create them in your modeling package.

Folds were done using the Clay Buildup brush, and you can smooth it and add some texture through Noise Maker later. It’s really straightforward, just make sure you have a good library and keep in mind the idea behind drapery and how other surfaces will affect your folds.

This is all for today. Hope this can clear some stuff up!
PS: I like to keep all the resources and references I find in my Pinterest page. You can check it here!

And last, but not least, working on this character by the amazing Ted Beargeon. Will get the hard surface work done by tonight and get to a game ready version ASAP.

Gotta say folds are extremely boring and fascinating at the same time. Need to practice more, I guess.

That’s all for today fellas!

Also been studying anatomy lately, trying to get figure out the functionality behind muscles. Second batch of pictures are slightly older, but with some polypaint work on them.

Been a while, but still training!

Jim Carrey bust practice, from the Ace Ventura 2 movie.

Started this as an assignment where we would have to mix 2 animals togheter: I chose a Gorilla and a Rhino. I’m pretty happy with the progress, so I’m planning on doing the full bust now as a side-project.