A fully procedural low-poly environment.

In this project, I aimed to create a VR experience within a gloomy and foggy geometrical hall of logic, with a classic and snobbish ambiance. Viewers can freely explore this environment and discover an entrance to a new area bursting with colors and presenting multiple doors to exciting challenges.

The map features a circular maze, designed for solvability while dynamically generated with random elements.

Corridors are interconnected through doors, forming an engaging maze that fosters exploration and discovery.

Objects within the map are procedurally placed using VEX scripting, offering various tweakable parameters for diversity.

Even the objects themselves are procedurally generated, offering a wide array of parameters that can be tweaked and adjusted to achieve various outcomes.

Thanks to Houdini’s UE4 plugin, asset importing became effortless, and real-time tweaking made rapid adjustments easy. VR navigation components were integrated, and the environment was shaded in a captivating hatched wireframe style.

Storyboarding for a short fable called Bobino

Here I worked with a writer who developed a script to translate the fable into storyboard beats.

Role

• Drawing the shots
• Collaborating on defining the shots and angles – to convey the narrative through easy-to-understand visual storytelling and symmetrical composition.

VR Installation

Role

3D Modeling, Rigging, and Animation Automation

Immanuel is a multi-layered experience that combines a graphical novel, video art, installation, and a location-based VR experience.

Here I took on several key tasks, including ideating, modeling, and rigging. A significant focus was on creating the main character, Immanuel. Additionally, I contributed to the texturing process and played a crucial role in resolving various technical challenges throughout the project.

Our vision for the creature was to make it inhuman, mechanical, and eccentric, while still being relatable as a living creature for our audience. To achieve this, I decided to start with the spine as it is a common element found in most living beings. By beginning with the spine, I gained a technical advantage, allowing me to work on a single piece and then duplicate and modify it to create the other components, resulting in a visually diverse yet cohesive design.

At this stage, I connected the organic and mechanical parts together, carefully aligning their bones. This innovative idea allowed the imported animation for the simplified mechanical part to automatically move the organic part, resulting in a visually appealing fusion. Although the execution demanded substantial time and effort, the final result justified the dedication.

After ensuring accurate UV mappings, I imported the animation from the low-quality model into the high-quality one, a process that went smoothly. With some additional refinement, I successfully baked the final animation.

During the development process, we thoroughly tested the high-resolution model in Unreal Engine. As there were no rendering or animation issues, we made the decision that the model didn’t require game-ready optimizations, streamlining the production further.

Version 2

After the initial exhibition of Immanuel, we were determined to elevate the project for its second showcase. To achieve this, we set out to modify the character. I began sketching, drawing inspiration from centipedes and other similar species, and shared these ideas with the team. Through an iterative process, what was initially intended as a small modification evolved into a complete overhaul of the character’s body! The new Immanuel design took on a simpler and more organic form. We retained some primary bones, and with the more natural body shape, the rigging process became much simpler this time around.

By implementing an algorithmic system to generate random waves for the tentacles, I successfully achieved automatic animation. Subsequently, I baked this animation to the other parts of the body, which significantly reduced the time and effort needed for the animation process. The final outcome boasted a natural and fluid appearance, thanks to this efficient setup.

Looping 3D Motion Graphics

Torob is a thriving e-commerce company based in Iran. Serving as a third-party website, it acts as a comprehensive platform that aggregates shopping prices from various sources. By analyzing and processing this information, Torob aids customers in discovering better deals, and it also assists businesses in reaching a broader customer base.

For this video project, I began scripting the 3D objects since they were relatively simple to create. This approach allowed me to use various variations of these objects later for static images.

The development process involved parallel 3D modeling and animation. I then proceeded with texturing, followed by lighting and post-processing to achieve the desired visual effects.

I maintained a consistent visual aesthetic across various projects. Some of the other projects I worked on included creating images for the Google Play page, running a small campaign to gather users’ feedback, and designing advertisement banners for websites. Throughout these endeavors, I ensured that the visual style remained cohesive with the overall brand identity of Torob.