Why I Use Blender

This is where almost entire pipeline lays, from the initial shapes to animation and rendering, letting me work in familiar environment without switching between different programs at every stage.

I start with modeling: blocking and proportions, then the silhouette. Then I move on to sculpting for characters and creatures (organic forms), or to polygonal modeling for props and hard-surface work, including simple objects. Most often I create characters and creatures. I also make clothing and props, then simple environments: rooms and surroundings. Sometimes full scenes for the portfolio.

After sculpting or creating a high-poly base, I retopologize the model, rebuilding the mesh for UV work, then for the rig and for export. Clean topology ensures that textures map correctly and that the character deforms properly in animation.

Next come UV unwrapping and texturing. I build materials and PBR setups in the node editor for skin, fabric, metal, eyes, and more. I sometimes refine complex details in Substance Painter, but assembly and revisions happen in Blender again.

I also create effects there: cloth simulations for clothing such as capes or skirts, as well as hair and particles when needed. This keeps the effects in the same file as the model.

Rigging and animation also happen in Blender: bones, weight painting, CloudRig, Shape Keys for facial expressions, posing, simple movements, and preparation for performance capture (mocap). I am currently developing my facial rigging and weight-painting skills before moving on to final renders.

The last step is rendering in Cycles or EEVEE, producing images for the portfolio and ArtStation, as well as for the website.

My approach is the same as in industrial 3D: establish the large forms and construction first, then add details. This makes revisions easier and prevents the model from breaking halfway through the process.