This 3D title sequence for Life is Strange is built around the idea of a pop-up book, with each scene unfolding like a new page of the story. The visual language combines stylized 3D environments, typography and AI animation to create a handcrafted, narrative-driven atmosphere.

The key moment happens in the middle
of the sequence, when both the visuals and soundtrack suddenly rewind. This shift directly references
the game’s time-manipulation mechanic and turns
the sequence itself into part of the storytelling.
The project explores how title design can communicate
a narrative idea through structure, rhythm and visual metaphor rather
than simply introduce a name.

I’ve designed Grognek who is a goblin who traded the life of a rogue
for the role of a Dungeons & Dragons game master. His leather robe, protective helmet and magical dice earring were designed to reflect both
his fantasy background and playful personality.

The project covered the full 3D character pipeline: sculpting, topology, baking and final texturing. I focused on keeping the model expressive while making the asset clean and production-ready, using material contrast
and small narrative details to strengthen the character’s identity.

I’ve created Shishiga who is a forest creature built around a dark folklore-inspired concept:
an old face-stealer who appears in foggy swamps and collects the faces of those who show emotion in front of her. The design was developed to make this story readable through silhouette, anatomy and disturbing details, including the mouth on her stomach and the collection of faces carried on her back.

I’ve done everything from sculpting and modeling to retopology, UVs, baking, texturing and final presentation. I focused on keeping the character visually unsettling while making every element feel intentional and production-ready. The result shows how I approach 3D not only as a technical process,
but as a tool for building character, atmosphere and narrative.

This project is a seamless looping video created for the hero section
of T-Bank’s website. Its role is both decorative and brand-focused: to make the first screen feel more dynamic while keeping the visual language clean and recognizable.

The T-Bank logo becomes the central element of the composition
and is revealed through smooth, continuous motion designed to loop without a visible beginning or end. The project shows how I approach commercial motion as part of a digital experience, combining branding, rhythm
and technical precision into a visual that can work continuously without distracting from the interface.