3D Skills:

• High Poly and Low Poly modelling.

• High Def sculpting with Zbrush and Mudbox.

• Clean Topology and Re-topology (Maya, Zbrush).

• Blendshapes, Flexshapes and Correctives.

• Clean and organised UV layout.

• High Definition Texture Painting and Poly-Painting.

• Discreet knowledge of Lighting & Rendering engines such as V-Ray and Arnold.

• Excellent eye for shapes, perspective, lights, materials and colours.

• Great attention to details and passion for his projects.

• Very keen to learn, he keeps updated and is a fast learner.

Other Skills:

• Solid Anatomy knowledge.

• Extensive knowledge about Drawing, Sculpting and Photography.

• Has the ability to work well as part of a team and has ability to meet deadlines.

• Strong communication skills.

• Semi-Professional photographer and professional B&W photo printer on optical magnifier.

Software: Maya - Z brush - Mudbox - Arnold - Vray - KeyShot - Photoshop - After Effects - Premiere

Biography

Born near Milan in 1977, at an early age I realized to have a passion and flair for the arts. I started my studies at the local art school and soon found my best talent to be the ability to capture through their gaze the essence of my subjects. With my portraits becoming more faithful, I increasingly grew fascinated by the way light unveiled my models. Light was everything!

My studies in photography had started and I begun spending long hours in the darkness of my basement. Crudely equipped as a darkroom, this room called Studioloys by my friends -Loys was my nickname- was the space were, with a torch in one hand and my camera shutter open, I used to immortalise light-strokes: that torch was my new brush.

It was those beams of light, which I employed to paint my subjects out of the blackness, that helped me ponder on how those soft curves of matter are always there, even when there is no light to expose them. I contemplated the mere essence of shapes. Those blind figures, meaningful forms in an otherwise meaningless space, set me on an inevitable course... the five-year-long journey towards my bachelor in Sculpture at the Fine Arts Academy. Shapes were everything!

As I gradually absorbed the quintessence of shapes through practise and thorough manipulation, the intrinsically static nature of sculpture -that very same quality that makes it as strong as it is eternal- was now beginning to make me feel restrained: it became a limit to my creative process. After all, my scalpel could not translate the inexorable flow of a river nor could my hands dipped in clay truly capture the power of a waterfall hitting the rocks beneath. I indeed had been neglecting yet another fundamental element that would more so complement my comprehension of reality: the dimension of time. Time was Everything.

…But How?

There actually was a way to use everything I had learned combined into a single instrument... such tool is Maya. 3D software don't need space, light or time and yet they embed all these elements into a virtual universe within which we are totally unbound from the usual limits of our physical world.

It is then that I finally looked for and found a widely comprehensive and in-depth Maya class, funded by the European Union, that I could follow while preparing my final dissertation for the Fine Arts Academy.

One year later I was lucky enough to land my first job in Milan as a 3D Artist.

Fourteen years later I am a Senior Freelance Maya Generalist based in London with a long experience in CG animations and TV productions.