3D

Character & Prop Designs
Copyright © Mario Donk,
Artwork, concept and intellectual content are the property of the Author Mario Donk
For any 3D requirements, character design, modeling, animation, call me, all my work and models are my original creations.
So if you need an extra hand when producing that animated film, or you need a 3D prototype to display your new invention, please contact me at mariodonk@bigpond.com

I create all my own models, textures, animations, anything is possible.

Blasted Fuel Gauge

Do it

Above images are available as Giclee prints. See Prints button on home page.

Digital Confusion

On left is a paper cast head. The head on right was created in 3D using my paper model left as a guide. The 3D model has 48 face endomorphs so is capable of full face expressions an well as speech.

Great Character Design comes through grace of line

The model I made to get a feel of the cat, this then was the base that I modified as seemed fit while creating it in LightWave 3D and Silo, The plastic head is about the size of a fist, started out in clay and cast as plastic, for info on plastic go
Don't be mislead, drawings first followed by a real model in clay, then create in 3D. If you skip the real modeling in clay part, particularly if your only creating a 2D drawing for animation will result in insurmountable design problems if the character ever needs to be created in 3D or into an actual toy, leaving you with two options, change your original drawing to match reality, a bad idea as its already in production, or design a toy that does not (can not) look like the 2D character due to incomplete design of the 2D version.

NEVER skip the clay model prototype.

,944 polygons.

This is a plaster cast from my clay model, click the 3D image above to see how the 3D model was made point by point. I am a firm believer that an object needs to be made and felt with the hands in a real material, once correct in form it is used to help recreate it in 3D on computer. Far too much of today's modeling is not modeling at all but surface embellishment.

The irony is that surface embellished creations tend to look shallow (skin deep) where as true sculptured form, despite its simplicity of surface actually is the only way to create something that goes way deeper then the skin. Modelers would do well to study classic sculpture rather then waste their time on intricate surface embellishments that wow but only for an instant, then nothing.

A good form makes one want to stroke it



On left is a paper cast head. The head on right was created in 3D using my paper model left as a guide. The 3D model has 48 face endomorphs so is capable of full face expressions an well as speech.
Great Character Design comes through grace of line The model I made to get a feel of the cat, this then was the base that I modified as seemed fit while creating it in LightWave 3D and Silo, The plastic head is about the size of a fist, started out in clay and cast as plastic, for info on plastic go Don't be mislead, drawings first followed by a real model in clay, then create in 3D. If you skip the real modeling in clay part, particularly if your only creating a 2D drawing for animation will result in insurmountable design problems if the character ever needs to be created in 3D or into an actual toy, leaving you with two options, change your original drawing to match reality, a bad idea as its already in production, or design a toy that does not (can not) look like the 2D character due to incomplete design of the 2D version. NEVER skip the clay model prototype.
,944 polygons.

This is a plaster cast from my clay model, click the 3D image above to see how the 3D model was made point by point. I am a firm believer that an object needs to be made and felt with the hands in a real material, once correct in form it is used to help recreate it in 3D on computer. Far too much of today's modeling is not modeling at all but surface embellishment. The irony is that surface embellished creations tend to look shallow (skin deep) where as true sculptured form, despite its simplicity of surface actually is the only way to create something that goes way deeper then the skin. Modelers would do well to study classic sculpture rather then waste their time on intricate surface embellishments that wow but only for an instant, then nothing. A good form makes one want to stroke it