MIRU KIM
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MIRU@​​MIRUKIM3D.COM​


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It's now 2021 and I have been a lead surfacing artist for the past 2 years (3 seasons, 24 eps ea.). I've lead my team through what is probably the toughest hurdle Paw has ever faced: transitioning a long-running show from one pipeline to another.

​Season 7 to 8 has been challenge on all fronts, as we switched from 8 years of working in Vray 2.6 (spec-gloss) to our very first season in Redshift (modernPBR), which I hope is evident in some renders I have posted. My work has become more technical in nature, as I find myself using Substance Designer to make new materials, work with Xgen grass and animated shaders such as water/various FX far more often than before. Redshift doesn't take the same maps as Vray and being a fairly immature renderer, lacks many of the features that ship with established renders such as Vray and Arnold.

As always, these are only a small fraction of the work I have done as I have not posted anything that
I cannot take sole credit for; 90% of my work is development these days and most of it I have not shared.

I had the pleasure of working on Spark, a massive dragon that dwarfs pretty much any asset on Paw including some buildings. Here, I am testing SSS on his wing membrane.
His belly scales are a material that I made in substance designer; they tile in the event we needed them to compensate for stretching.
Displacement test
Displacement test
Displacement test
New princess knight costume. The scales are a new material I made in Substance Designer that is used on all the other characters for this season's theme.
New princess knight costume. The scales are a new material I made in Substance Designer that is used on all the other characters for this season's theme.
New princess knight costume. The scales are a new material I made in Substance Designer that is used on all the other characters for this season's theme.
One of the sets I worked on. Everything you see is a Substance designer material
For S8, we redid all the major characters. It was difficult as client did not want any changes but still wanted it to look better
Closeup; I paid special attention to getting nice specular hits.
I oversee the grass on our show as well. We needed a longer, wilder grass which I did the lookdev for.
An old S7 asset but I sculpted much of the details in ZBrush; this was a precursor to the dragon I would later work on. Roughly 8 UDIMs as the camera gets close to some parts
Fun little spider I did while experimenting with some of Substance Painter's newer features.
Fun animated stream shader I made for Marshall's water cannon for S8.
​It was previously handled by FX in Houdini; having it as a shader obviously makes it much lighter on render times and show budgets.
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Some shader/Substance Designer studies using Blender Cycles
Due to the nature of a dynamic production, most assets are worked on by many artists. While I have worked on every character, vehicle, and location on the show at one point, many times I can only claim partial credit; thus, I have selected shots where I can primarily take credit for unless otherwise noted.

As of Season 5 and with Season 4's finale, Pups Save Puplantis, I have been performing as a look developer on top of my regular duties as a
senior surfacing artist. On a show that has been running for 7 years and counting, raising the visual bar while maintaining the show's art direction is a common task. You may notice when comparing some of the older images shown below how much we have improved the look in just one season!
Some things I worked on in season 4 of Paw Patrol (2017). For the most part, season 4 is ocean-themed, hence why the season finale takes place underwater. I was in charge of look-devving Puplantis, seen in my reel, as well as Harold's giant robot for the first 45min Paw Patrol special DVD release. I have not included any renders of development vehicles or characters I have worked on, which are very many, as I cannot take sole credit for them.
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Inspired by Hugo Beyer's work in The Order 1886, my primary focus was baking tiling trim textures. 
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Stylized modular rocks. Terrain made with WorldMachine, rendered in UE4. All landscapes are from the same heightmap.

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Assignment requirement was to make a treehouse out of maximum seven assets excluding foliage.

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Facial rig by Aleksandar Andonovski. I practiced portraiture prior to learning 3D; this 3-day introductory project to zBrush helped solidify many concepts I learned in traditional fine art. SSS effect is faked by painting in warm tones in an emissive map.

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​Creature anatomy study. Concepted from skeleton and built musclature on top. Based on horse skeleton and wolf skull. 

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​MoCap rig and animations by Evgenii Zlochevskii coming soon.

I spent three years practicing Kendo and Iaido, from which I drew my inspiration for this character. I invested some time into making heightmaps for the stitching on her clothing and the metal plating around the waist. I wanted good diversity in her armor's materials that ranged from silk, cotton, leather, steel and some kind of synthetic material.
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Copyright © Miru Kim 2011-2019 All Rights Reserved
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