[PROJECT ANKA] PSX STYLE 3D WORK AND GAME DEV (IN THE WORKS).
POWERED BY THE GARDEN VERSION 1.4 ⌂
[FEARS TO FATHOM: WOODBURY] - 2024
design 1
“WOODBURY” is inspired directly by the short, acclaimed, indie horror series “FEARS TO FATHOM” created by Rayll Studios. The series is episodic in nature, with this piece being an homage to the most recent addition to the lineup: “WOODBURY GETAWAY.” The imagery replicates the main set piece of the episode, though no 3D files were imported directly; all were modeled by me. Particle simulation is used to represent snow in the piece, while global illumination is imitated via a fog shader (all done in the EEVEE engine). Small animated pieces (i.e, the two people in the foreground next to the car) are actually me! I used Futurelabs’ new mocap toolset in combination with Rokoko to transpose my own movement onto several 3D Armatures. Rigs were refined to suit the rest of the piece, as with all my other Anka pieces, a pixel composite was used as the primary post-processing step.
Context 2
After corresponding with the very talented Rayll for several months alongside the release of this episode, the project came to fruition late last year. Through direct consultation concerning art style, thematic decisions, etc, WOODBURY was posted on the main Fears to Fathom platform alongside my own posting. An excellent experience overall—and one emblematic of the greater reasons I started ANKA in the first place: facilitating creative connections with authentic indie creators that are leading the digital space to new heights. Very full circle.
SOFTWARE 3
BLENDER, PHOTOSHOP, PREMIERE Pro, MIXAMO, ROKOKO
ROLE 4
3D-Artist, Motion Graphics + Sound design, Graphic Designer
i⢟ *24-> - 1/1 - mp4 ^
[the collection] - 2024→
design 1
A collection of works released under my firm name ANKASYSTEM. Most renders are styled after PS2 titles—combining low-poly visuals with 3D distortive effects to emulate primitive, often inadvertent, but characteristic VISUAL aRTIFACTING SEEN IN early 3D rendering (affine texture warping BEING A PRIMARY EXAMPLE). Additionally, my art style uses a pixel composite within Blender’s EEVEE engine to simulate A low resolution without antialiasing—leading visuals to be more ‘crunchy’ rather than blurry. The noise effect seen in my work is achieved via a procedural texture that is constantly moving back and forth (in some renders, everything is animated—the floors, the walls, etc; everything is a character IN A SENSE). All workflows (3D, Audio, Mocap), all social media, and all correspondence are done directly by me. AUDIO-VISUAL inspiration OR USAGE—derived from other creators’ work, indie projects, etc, is always credited.
Context 2
ANKA is an independent 3D design firm focused on the above content posting, as well as commission work largely in the same art style. Inspired in great part by creators such as Jack McVeigh, Davidhlt, Moofju, and others who were already established in the scene, my work owes a lot of its success to the creators that came before me. Additionally, the relatively recent democratization of game-making is also something to be acknowledged, as my own draw to THE art style echoes that of many indie developers/studios over the past few years, looking for something stylish but non-taxing on everyday hardware (Rayll above being a prominent example, as well as Mikel Klubnika, etc). Accessibility was a large facet of starting Anka, as before it, I had RELATIVELY NO industry experience in the 3D realm and was significantly out of my depth. Low-poly, PS2-esque visuals seemed the best place to start. Many of my first renders for ankasystem were my first renders ever. Between Instagram and TikTok, the accounts associated with anka now have a combined 40,000 followers. In month 2 of posting (May of last year), my account grew from an audience of 200 to 20,000 on TikTok via a consistent, niche posting strategy (largely revolving around the style above). I am eternally grateful for the audience I have and have leveraged my small influence over the past year to garner creative connections across industries as a commissioned artist, consultant, and, fundamentally, as a designer. It has been a dream to run Anka, as I have been able to utilize my interdisciplinary acumen in a way now seen by millions.
Fun fact: someone has a tattoo of one of my anka pieces! still insane to me.
SOFTWARE 3
bLENDER, PHOTOSHOP, PREMIERE Pro, FL STUDIO, MIXAMO, ROKOKO
ROLE 4
3D-ARTIST, MOTION GRAPHICS + SOUND DESIGN, GRAPHIC DESIGNER
⢟ *24- - 1/9 - mp4 ^
[Days before anka] - 1978/2024
design 1
[LIMITED INFORMATION DERIVED FROM ONYX MEDIA LLC] MOST SHOWCASE BEGINNINGS OF VERDURE, AS WELL AS ORIGINAL CT FACULTY DOCS. INTERACTABLE BRIDGE DOC IS HIDDEN.
OS IS COWBOY 15.1.
Context 2
A SET OF MEMORIES PRELIMINARY TO THE GARDEN AS WE KNOW IT. DATED TO THE LATE 1970S, THIS SET OF PIECES DOCUMENTS ONE OF THE INITIAL STEPS TOWARD WHAT WE NOW REFER TO AS THE MERIDIAN, OR IN SET-SPEAK, THE “BRIDGE.” WHILE THE VISUALS STEM FROM A PROXY GHOST ON THE CAPE, SIENNAX STILL RECOMMENDS LIMITED VIEWERSHIP.
SEE WHAT YOU CAN FIND AND EXFIL PROMPTLY.
SOFTWARE 3
bLENDER, PHOTOSHOP, PREMIERE Pro, uNITY.
ROLE 4
3D-ARTIST, TEST SUBJECT
⢟ *24- - 1/? - mp4 ^
ALL RIGHTS RESERVED FINN / ANKA
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