+49 (0) 15227523166
I am a 3D artist and illustrator who loves to tell stories through his (motion) pictures.
I have more than 20 years experience with digital painting, drawing (analog and digital) and have participated in more than 50 commercial 3D/CGI production projects.
The inspiration for my work comes mostly from a reflexion about the difference between photorealistic and contoured images. In terms of media, the inspiration comes from videogames, films, analog painting, comics and photography.
In these years, I have worked mostly for publicity agencies. In this portfolio, I am showing a mixture of commercial and artistic artwork. I have learnt the most through commissions and I divided the growing learning process in years. I use all of these techniques today and keep developing.
Click on 2D gallery to see studies and step animations.
Click on 3D Demo if you want to see what I have accomplished in photorealism.
Click on Workflow if you want to see what kind of pipelines I use to use and design.
Click on 3D technical demos to see rigging and skinning demos.
Click on Experience, to see an infographic with the summary of my resume.
Click on Artistic 3D Animation Films to see what I have been doing as a screenplay writer.
Click on Comic project (PDF, work in progress) to take a look into my latest comic project.
Between 2011 and today, I have been working in Berlin, mostly for publicity agencies and studios, as a production 3D Artist for animation video, character development, texturing, and project management. At the same time, I have improved and refined my 2D techniques, including illustration and storytelling. In these years, I have learnt through different online training plans from Gnomon.
In the last years, I have perfected my digital painting techniques, applying them to manual render. If you want to see more studies, please, click on this link: 2D Production
This is a small sample of what possible is with a pretty normal pencil. More samples of analog and 2D digital render, on this link: 2D Production
In this Illustration, you can see how I normally confront the character development process. First, I make a research about the character, the script and the target. When I have a mental image, I develop it through sketches. Next, I draw the contours of the image in the form of silhouettes, to make it recognizable. Lastly, I check what the art director has decided about the color of the production. When all is settled, I draw and paint the character sheets.
Same as at Character Concept, I use references and architectonic blueprints to plan the backgrounds of my pictures. I use a similar technique with natural backgrounds.
For animation projects, it is necessary to prepare the animations using these tools. Animatics are useful to visualize the timing of the action. Here is an example for an advertisement video from IHK Koeln.
Thanks to ZBrush, I learned how to solve any modeling challenge that could come up. I usually model the rough character, first. Once I am sure of the general shapes, I advance into more and more detail, depending of the goals of the project. When I get the desired granularity degree, and the model is approved and there are no more changes to make, I retopologize it. Once retopologized, I send the different maps as textures: bump, normal, displacement and vector displacement maps.
Thanks to MEL (Maya Embedded Language) rigging tasks become much easier to accomplish. You can see the whole demo here: 3D technical demos
I learned to use Maya Muscle to solve the skinning animation problems in a more believable way. Deformations are automatic and I don’t have to create additional deformers to get the correct deformation every time. On the other hand, it was for me the best way to learn human anatomy. You can find the whole demo, including face expressions here: Skinning Demo
Thanks to nParticles (nHair, nCloth, nParticles, etc.) the interaction between several particle systems is much more efficient and the results, more believable.
Although Photoshop is a powerful 2D tool, there is no comparison to paint on the actual surface. Thanks to Mari, I can add this task to my pipeline in a much more efficient way.
In these last years, I learned on the field how to gain balance between these three inputs: Organization, Technique and Aesthetics. If I had to make a summary, I would say: Preproduction is the preparation for the production in the same way that production is the preparation for the postproduction.
In this years, I pushed on a beloved project of mine: to put together what I have learnt as a screenplay writer, as a graphic artist and as a 3D artist together on a 2D platform. You can find the whole preproduction process in this link (PDF, Spanish): Juliette's Story
At the end of this period I went to live in Berlin, where I learnt project management and html-CSS. Before that, I worked in Barcelona, mostly for architecture studios and advertisement, as well as a freelancer, as an employee. Parallel to that, I studied direction for 3D animation films and began to work with Maya. I perfected several 2D techniques too, including matte painting for backgrounds, which I started to use on a daily basis.
In this phase, I began to visit systematically live drawing and painting sessions. Although first in Barcelona, I kept learning at several workshops in Berlin later, even today.
I visited some live sculpture workshops at that time in Berlin. It was quite an experience and just what a 3D modeler needs.
I began at this time to prepare all my projects through Gantt charts. That gave me an enormous amount of flexibility and improved several technical potentials.
I began in this phase to use Mental Ray and VRay in all of my renders, that means, I started driving all shader parameters - or at least the most relevant - through hand painted maps, taking special care of the speculars and subsurface scattering.
At that time, I first met real time engines. Starting from here, I kept in touch with several employers and clients who demanded special tuned textures and LOD models to upload.
This was where I gained serious knowledge on Maya and began to understand that 3D is only a tool and what matters is the story that you are telling. This was a very intense time, where I perfected my screenplay writing techniques.
I worked at that time as well as a graphic artist, as also a motion graphic and 3D artist, planning and executing projects for publicity, advertising and architecture agencies. And also for other artists, making videoclips for musicians.
Example of DVD Menu Screen
My first advances using 3D Studio Max as a tool to tell stories. Here I got my first approaches to 3D production: modeling, rigging, animation, lighting, texturing, rendering and postproduction.
In this years, I had my first contacts to illustration as a means for storytelling. Most of my work at that time was thought to be printed on paper. I worked long for photomechanics and publicity agencies at that time, learned all the process- and pantone-color separation, as well as the vector and pixel based illustration methods. Main programs: Illustrator and Photoshop.
This is a sample of the kind of work that I used to do at that time as an illustrator.
At that time, I began also to write and draw comics. And I did it using the good old analog techniques.
At those times, I learned to draw with pencils, contours and analog render.
I worked long time for publicity agencies, layouting flyers, brochures, catalogs, inside publicity, etc.
Programs: Illustrator, Photoshop, Corel Painter, InDesign, After Effects, Premiere.
Skills: Analog and Digital Drawing, Character Development, Human Anatomy, Sketches, Color Theory, Concept Art, Character Sheets, Elevations, View Planes, Photo Retouch, Digital Painting, Layout, Storyboarding, Animatics, Illustration.
Programs: Open Office, MS Office. Skills: Storytelling, schematic Story Development, Cinematography, Technical Script.
Programs: MSProject. Skills: Traditional Project Development, Gantt Charts for 3D Projects. Delivery Planning.
Programs: HTML, CSS, Dreamweaver.
Programs: ZBrush, Maya, 3D Studio Max, Headus UV Layout, 3D Coat. Skills: Micropolygonal Sculpture, Retopologization, Edge Loops, Mesh Optimization, high and low polygonal Modeling, hand-made and automatic UVW. Polygon and NURBS. Human Anatomy.
Programs: Maya, MEL for Rigging, 3D Studio Max Bones. Traditional blendShapes (Morph Targets) and procedural skinning systems like Maya Muscle.
Programs: 3D Animation: Maya, 3D Studio Max. 2D Animation: Anime Studio Pro. Skills: 3D and 2D Animation, Key-based and Curve Simplification for Motion Capture.
Programs: nHair, nCloth, nParticles, Fluid Effects, RealFlow.
Programs: Mari, Photoshop and BodyPaint. Skills: Shader and Texture development, 2D and 3D digital Painting and Photo Retouch.
Programs: Mental Ray and V-Ray. Skills: Digital Lighting and Rendering through Ray trace-based Engines for Render Time. HDRI. Subsurface Scattering. Analog Rendering. Color Theory. Cinematic and photographic Lighting Theories. Photorealism. Organic, architectonic and hard Surface Rendering, layered Rendering. Volumetric Light, Motion Blur and Depth of Field Subprograms for Postproduction. Analytic Render Layers Distribution through Color Buffers. MEL for Render Process Automation.
Programs: Nuke, After Effects. Skills: Compositing, Mask Animation, Rotoscoping, Tracking, Color Correction.
Professional Proficiency: German, English and Catalan Mother Language: Spanish
2003 Berlinale Talent Campus, Filmmaker
2002 Fonart, selected for competition Alien Satori
2002 Girona Animation Film Festival, selected for show, Alien Satori
© Franklin Ponce 2016