Masks of Elder Ages

Ever since the days of my childhood spent playing Majora's Mask, I've always loved masks. This personal project was a design exploration with volume modeling in Cinema 4D, Substance Painter, and Octane/Redshift Render
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Category
For Pleasure
Client
Personal Project
Release
April 2020

Role + Process:

3D modeling, lighting, texturing, and rendering.
All geometry was created with Cinema 4D. Lighting was handled with Octane Render. Texturing was completed through a combination of Substance Painter and Octane/Redshift Render's native material system. Color correction was handled with Photoshop.

As it seems I am wont to do, many of the things I create end up having some sort of lore created to give them an internal context for existing. These masks are no different. Having spent considerable amounts of time over the last year working on a homebrewed D&D campaign, many of these masks were given names referencing various eldritch deities I conceived of as a part of the lore of my campaign world.

The Mask of Mammantatra -- Within the era before even shadows came to exist dwelt naught but brooding and interminable chaos. An eternity of darkness pulled taut over all creation, encircling the primordial ether and dust. From deep within her temporal prism Mammantatra refracts all inevitable causal termini upon the tapestry of reality. The threads of causality are woven and bound by hands unseen and unknowable
This mask was originally made in collaboration with Gage Lindsten who was creating a choose your own adventure game that was being released via Instagram. Gage reached out and asked if I'd be interested in creating a few assets for him, this being one such asset
The various components of Mammantatra's mask were created with Cinema 4D's volume modeling toolsets
The resulting pieces were then brought into Substance Painter where I created materials for them
After creating the materials, the models and textures were exported back to Cinema 4D where they were rendered with Octane
The Mask of Elden King Helimal -- Within the Tasparan expanse lies the halls of elden King Helimal. Whether by choice, or by folly, Helimal and all who dwelt within those cylopean onyx halls utterly and completely vanished from this reality. To those foolish enough to peruse the Grand Archives of Helimal's Court, one may find lurid tomes chronicling pacts and other unnatural dealings with beings so far flung from mortal comprehension that the mere reading of those texts will most assuredly fracture aspects of the psyche and corrupt the very nature of the soul
Throwing optimization to wind, I decided to get a little wild 'n crazy with sculpting tons of details into this tribal styled mask. In my game world, the denizens of Taspar are effectively dwarves, and in keeping with the identified tropes of this race of people, they would be adept metallurgists. I wanted this mask to reflect this people's proclivities with metal and stone working
Unlike the other masks present here, the materials for this mask were created entirely with Redshift Render. Using a blend material node, I created a spherical falloff to generate a curvature map based on the positions of vertices. With this information generated, it allowed the node to blend between the ruby and gold shaders I created
Redshift, when compared to Octane, handles the rendering of specular materials mind-blowingly well
The Mask of Te'Lom Mophlafique, Elder Twin of the Divine Intelligences -- And upon that sapphiric slate, inscribed in golden pigment, reads a partial accounting of the calamitous events which led to the fabled Pthumerian lands becoming but a shadow out of time, "I witnessed the shimmering visage of the Ivory Wyrm. Who were with him as he shook down his argent wings and veiled the god's transformation in secret. Who witnessed the conception of the divine child, though his coming was yet unrevealed. Sequestered from all in that dark Abyssal Sea. The Egg of the Perfect World."
Like the other masks which comprise this series, I created all of the various components through volume modeling
Once the pieces were modeled to a satisfactory degree, I exported them to Substance Painter where I began the texture painting process
Once texturing was completed in Substance, I exported the models and texture maps to Cinema 4D where the final shots were rendered with Octane
Have a project in mind?

I'm always open to collaboration, so don't hesitate to send me your project details. Let's create something great together!