Philip Hodas, a Prague-based 3D artist, decided it was time to mix two of his biggest passions and up his skills a bit while he’s at it. This is how the Cartoon Fossils project was born, showcasing what one can achieve using his imagination, art skills, and a love for cartoons. This unconventional art gallery contains fossilized skulls of famous characters like Tweety, SpongeBob, Minnie Mouse, and more. Pay attention to the quirky names the artist made for these skulls – each reveals a year that cartoon character first appeared on TV or gained major attention from the public. Here are 5 fossilized skulls of our beloved cartoon characters.
Canis Goofus – USA, 1932
Goofy was the first attempt of Philip Hodas to create a believable fossilized skull of a cartoon character as if he existed in real life. His primary goal was to become better at sculpting and try some new techniques in the software he uses for his artistic needs – Substance Painter.
Mus Minnius – USA, 1928
Initially, the artist wanted to make them look like actual ancient fossils similar to the ones we find of dinosaurs. They later get turned into spectacular museum exhibitions with beautiful settings reminiscent of the long-gone era. Yet, it was more difficult with cartoon characters as their fossils would be hardly recognizable with different parts missing.
Homo Popoculis – USA, 1929
That’s why Philip Hodas decided to change his concept a little bit to make the characters more familiar and fun to look at. He created less damaged looks, put them against vibrant backgrounds, and added various assets that would hint to the characters’ origin.
Spongia Bobæ – USA, 1999
With pipes, bows, and dusty hats, all his favourite cartoon characters came to life as museum displays. They look so life-like it’s hard to believe they aren’t real! For his creations the artist used different programs, including ZBrush, Substance Designer, Substance Painter, 3D Coat, and Cinema 4D.
Anas Scroogius – USA, 1947
Anas Scroogius was the last from the series of cartoon fossils and one might notice that it looks quite different from the first one. Philip Hodas explained that he was trying to optimize the workflow as much as he could, experimenting with techniques and textures for a faster, but equally great result. He also used Adobe Photoshop and Adobe Illustrator for final touches.