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Plague Poppets - Breakdowns

Plague Poppets is a project where we bring the amazing little creations from Juli Adams to the 3D realm to give life, attitude, and friendship to the adorable little poppets.

For the Plague Poppets project, I was tasked with concepting, providing a proof of concept, creating the development pipeline and overseeing production and delivery of the poppets. The goal was to create a development pipeline to produce poppets and poppet traits (accessories, clothes, eyes, teeth, and more) in a quick and efficient process, while upholding the highest standard of quality for our renders.

I acted as the Art Director and created all materials for the project, as well as created some of the meshes. I also oversaw the rigging/animation setup and process, as well as lighting setup, and coordinated between the art team and programming team to create an automated pipeline for rendering thousands of poppets. On top of all of that, I developed the shaders used in the project, with a baseline of creating and packing textures for gltf/glb versions to match 1:1 with the Unreal renders.

Parametric controls for one of the many materials I developed

Parametric controls for one of the many materials I developed

Parametric controls for one of the many materials I developed

Parametric controls for one of the many materials I developed

Parametric controls for one of the many materials I developed

Parametric controls for one of the many materials I developed

One rig to rule them all. Every single piece that makes a complete poppet utilizes a single rig. This allowed us to rapidly setup and test animations for blending and weight paint issues. A Maya scene was set up to toggle between assets quickly.

One rig to rule them all. Every single piece that makes a complete poppet utilizes a single rig. This allowed us to rapidly setup and test animations for blending and weight paint issues. A Maya scene was set up to toggle between assets quickly.

We use HSV changes for our color picking techniques. The changes are made directly to the albedo and sheen color textures so that glb/gltf models will have a 1:1 look.

We use HSV changes for our color picking techniques. The changes are made directly to the albedo and sheen color textures so that glb/gltf models will have a 1:1 look.

A look at the fabric material shader created inside of Unreal.

A look at the fabric material shader created inside of Unreal.

The Poppets were full parametric, allowing them to be saved and constructed via JSON files which can be read for constructing the exact same poppet in a glb/gltf viewer.

The Poppets were full parametric, allowing them to be saved and constructed via JSON files which can be read for constructing the exact same poppet in a glb/gltf viewer.

Early Sculpt I made in Zbrush

Early Sculpt I made in Zbrush