Good enough for what? That’s the million dollar question.
You’re fairly new to the craft and are still learning the ins and outs. That’s perfectly fine. Everybody starts out somewhere. Since your question is not all that specific, I’ll ask (and answer) it from a few angles.
Is it good enough to sell? Maybe. Somebody might find value in it, especially if it saves them time. Price it right and you might find a few potential buyers. If it isn’t UVed and you’re using 3rd party textures then its sale value goes down dramatically. Potential buyers want as few hassles as possible. Asking them to UV the model themselves might be a big ask. Selling a model with textures you don’t legally own resale rights to might make it a non-starter for developers or artists looking to use your model in a commercial project. If your model is legally free of issues and is hassle free from a UV perspective then, yeah, it might be something worth buying to somebody.
Is it good enough to get you freelance work? Maybe. Nothing high paying, however. Your skills aren’t polished enough to earn you a decent enough contract. You might get a few offers from indie game developers who pay very little. If you’re willing to suffer the low pay, provided they’re not being abusive or unreasonable with what they’re asking, then such jobs are tolerable for the experience alone. Something to pad the CV and build your skills on somebody else’s dime. As you get better and your portfolio gets shinier, you’ll be able to command more money and ignore those smaller, crappier projects. Your work, at this point is good enough to get small work, but you’ll get eaten alive by the competition if you try to go for higher profile, higher paying contracts at this point. Always keep learning and growing, but never lose sight of your current limitations.
Is it good enough to get you a studio job? No. It depends, but probably not. Even for a very junior type role, I don’t think that you’re quite there… yet. I’ve looked at your ArtStation portfolio. Allow me to explain why.
- Your grasp of anatomy and proportion are still fairly weak. If you want to do character work, which is something that you place a fair degree of emphasis on in your portfolio, this is something that you need to practice a whole lot more. Pump the brakes on full blown characters for a bit. Spend more time on focused anatomical studies. Use lots of references; There are tons of great books and anatomical maquettes for sale out there. Get honest critiques as often as possible; Praise is nice, but brutal honesty is more constructive. Character work is, in many ways, the end of the anatomical sculpting journey. You sorta jumped ahead. Enthusiasm is great. You’ll need that passion. Just don’t fast forward past the fundamentals though. Mastering those key skills and disciplines will serve you a lifetime. They’ll outlive any one software or hardware platform. That’s for sure.
- I get a sense that you either might not like UVs & texturing or you’re not particularly great at those disciplines just yet. I can see this in the fact that it looks like you use procedurals and distorted textures a fair bit. There are a number of good (free) UV tutorials online that you and should study. Yes. UV work is boring and tedious, but it’s ultimately a necessary evil. Texturing is also something that you can learn and get better at too. Part of that process is just practicing and trying to get better at painting in general; Texturing and regular painting share some common skills. Another part of the process is understanding your material, what the channels do, which to use, when to use them, and how to make the most of that texture space. This requires you to learn more about the materials that you’re trying to create. Denim, for example, doesn’t look like copper, nor does it catch light in the same way. Study your sources. Practice makes perfect.
- Presentation is everything if you want to stand out from the competition. Right now, you seem to have some obvious gaps in your traditional art knowledge. Take your poses, for example. They don’t demonstrate a strong understanding of weight, silhouette, or acting. Knowing about and using something as simple as contrapposto can change your model presentation a great deal. Additionally, your lighting work doesn’t go too far beyond basic 3-point. You want to show off your models clearly, sure. However, you also want some drama too. You don’t want to have your scene be overlit like the temple. You also don’t want it to be underlit like the Haqui soldier either. 3-point can work in your favor if you know how to balance your keys and fills. Knowing where to place those shadows can keep things from feeling flat. Knowing how to color your lights can establish mood and temperature, both which can improve a piece’s overall composition. Also, work on those contact points. Your characters feel too “floaty” in their scenes and don’t touch the ground realistically, if at all. Take some reference photos of yourself or a friend in those poses. Try and match what you see.
- It’d be nice, at this stage, to also know if you have a good grasp of topology. I see that a number of your models are low poly or close to. Demonstrate that you know your edge flow and how to work within real world specs and limitations. If you want that sort of job, consider also showing off this skill.
If getting studio work is your goal then you’ve still got some way to go. You’ve got a lot of fun ideas, but the execution is lacking atm. Are you good enough for a studio job? No. Probably not. You’re getting closer with each new project, but I think that you’re still just a hair away from even getting work on mobile games. Just a hair.
Right now, you’re really getting killed on the basics. Practice your anatomy. Learn more about art & color theory. Lean basic art composition techniques like the Rule of Thirds, the Golden Spiral, & so on. Get more critiques. LOTS of them and at every stage of your process. (Critiques can sometimes hurt your ego, but improve your work if you listen to and learn from the constructive ones.) Do more focused studies instead of finished pieces, at least at this point. Use references more. Maybe even step away from the computer from time to time and pick up real world paintbrush, camera, or some clay; You’d be shocked how just messing with that stuff even a little bit can greatly strengthen your CG work.
I want to give you one last piece of advice: Your portfolio is only as strong as your weakest piece. As you start to improve and produce better work, consider retiring some of the older, more flawed stuff to an archive directory on your hard drive. The older stuff is great to pad your portfolio or reel early on, but they might stand out like a sore thumb in the worst way. You really want to show yourself off in the best possible light.
Every artist knows that a solid body of work is built on a foundation of corpses, work so terrible that you would much rather leave it for dead. It’s just not necessary to put every corpse on display for the world to see. Know what I’m saying? When the piece becomes too old or doesn’t stand toe to toe with your latest and greatest, it might be time to prune your portfolio.
Your competition won’t be showing their oldest, cringiest work. You won’t want to either. Don’t throw it away though. You’ll almost certainly want to come back to it later to see how much you’ve grown (or haven’t) or just for nostalgia’s sake. I’ve got some REALLY crappy work on my HDD from about 25+ years ago that I’d NEVER put in my modern reel. I still hang onto it… because. It’s nice to look back now and then even those the ancient pieces aren’t going to get me a new client or anything.
I really liked it
Good luck to use futher!