About

As a Lead 3D Artist, I bring over a decade of experience in real-time game production, with deep expertise in project management and full development cycles, from rapid prototyping and soft launches to live ops. I combine team leadership with hands-on asset creation, cross-discipline collaboration, and production oversight. I’ve led art teams across mobile, console and VR platforms, driving the creation of optimized, visually compelling content aligned with both artistic direction and technical goals.

My experience spans the entire development pipeline, working closely with design, engineering, and production to ensure assets meet quality standards while remaining performant and scalable. I understand how to deliver work that not only looks great but also integrates cleanly into real-time environments.

While my leadership scope is broad, my core craft focuses on building highly optimized assets for stylized, performance-sensitive games. I have strong technical foundations in shader development, asset optimization, and engine integration in Unity and Unreal. With a experience in Tech Art, I help bridge creative and technical teams, refining workflows, resolving bottlenecks, and enabling scalable pipelines.

Below are selected examples of 3D assets I’ve created from concept through to implementation or showcase renders, highlighting my ability to balance creative vision with technical execution.

Skills

Primary

• 3D Assets for games

  • Mobile optimized (low-poly)

  • High fidelity AA, Console models

• Stylized texturing and PBR texturing (inc. very clean baking)

• Zbrush Sculpting

• Hard surface modelling

• Retopology

• Can do Stylized, Semi stylized and Realistic assets

CHARACTERS

Stylized Character bust (Low poly)

A mobile character specification for gameplay should be designed to perform effectively in both interactive environments and cinematic moments. This character must maintain visual quality in gameplay while also holding up in hero shots and close-ups. Key elements include:

1. Facial Topology: The character's facial topology should be optimized for lip-syncing and expressive facial animation, allowing for smooth and realistic movement of facial muscles.

2. Gameplay Performance: The character's design must be efficient for mobile hardware, ensuring smooth animation and interaction without sacrificing quality.

3. Hero Shots & Close-Ups: For cinematic moments, the character should have high-quality textures and shaders, allowing it to look detailed and realistic in close-up views, especially for emotional or narrative-driven scenes.

This balance of functionality and aesthetic quality ensures the character delivers a dynamic experience in both real-time gameplay and narrative moments.

Stylized Character (Low poly)

Example of a full game ready character.

• PBR with Normal maps

• Mobile Spec

• Low poly

• 35,325k tir (15k Polys) including all guns and accessories

• 4x 2k Map sets (Made with separate materials and texture sets for the weapon, clothing and accessories for modularity but can convert down to one single atlasses texture set for optimisation)

Another mobile character specification. For this character I created everything from scratch without the use of pre-made base meshes for sculpting or low poly ingame mesh. However in production I often use existing existing meshes to speed up delivery where possible and to standardise the look and topology between multiple characters.

RTS Character (Mobile Spec)

Characters I created lookdev and rapid prototyping of a mobile game with a classic Dark Fantasy setting.

The asset quality is tailored for an RTS game where the final in-game models are viewed from a distance, typically from a top-down perspective. As a result, finer details and precision are less important than the overall silhouette and proportions. The focus is on readability of including clearoity of the character archetype from a far while also having a destint ocerally feel.

The character was a stylized PBR character with a vertical gradient technique from Dota 2 for readability from players perspective and draw attention to torso of the character.

I created the shaders in blender as a quick way to look dev the final result and build a shafer the I know will translate across to Unity’s URP including a toon outline.

For mobile Spec characters I am very experienced in taking a concept through to basic rigging and implementation into Unity or Unreal ready for animation.

Production pipeline

• Zbrush for Sculpt

• Retopo in Blender

• Baked in marmoset toolbag 5

• Textures in Substance Painted

• Renders in Blender

• Implemented into unity

Rapid prototyping for look dev to explore character proportions, style, and lighting

Final Character lookdev for RTS characters, optimised for small scale use but will also hold up in ‘ingame’ cutscense

Character and organic sculpting

This is a fan art Sculpt of mine created in Zbrush for HL2 20th anniversary. I challenged myself to create this without using base meshes and build up the anatomy from scratch. It’s based on the iconic dystopian meto cop with a pin up twist.

Stylized Animal busts sculpted in Zbrush

VEHICLES

Low poly PBR T34 Tank (Semi Re

Simplified lowpoly RTS unit

• Highpoly

• Lowpoly

• Unwrapping

• Baking

• Texturing

• Rigging

Realistic CGI spec vehicle

Photo realistic cinematic quality 3d hardsface vehicle

Hard Surface Vehicle Modelling

Hard surface/ Box modelling vehicle with slight simplified style

More Hard Surface creations for a personal game project

PROPS

A collection of low poly PBR Props

ENVIRONMENTS

Stylized, mobile-optimized ‘arena’ environments

• Each level is baked down and atlassed to reduce draw calls to a minimum.

• Unlit shader textures, blended with character shadow casting only on the ground, allow the game to run smoothly on low-end devices.

• Added vertex wind animation to selected meshes to add life to the arenas.

RENDERING

Rendering is a supplementary skill I can utilized from static images or video

Realistic Character with surreal animation (Nudity warning)

Blender rendering project in cycles renderer and advance material fx with geometry nodes

liking how the first video turned out (zbrush render) I decided to remake it in blender. Improving the quality and explore the X-ray concept further. Still a wip (2024)

This is a project to take one of my models and turn it into a physical sculpture cast in epoxy resin. For this process I picked up fusion 360 and 3D resin printing in my spare time.

GAME DEV

Self Publishing

I enjoy the ambitious challenge of self-publishing my own games. Below is examples of games I have self published with my own company and client work for the business.

Unannounced UE5 Personal Project

In 2025 I’m currently working on an Unreal Engine 5 game for launching on Steam for PC and Console. Aiming to develop a vertical slice/demo to look for a publisher, government grants including Mega Grant submission.

I have been working Solo on this for about a year on and off learning Unreal Blueprints and Unreal Shaders to expand my engine knowledge further outside of Unity.

Jungle Blast

Is a mobile game I created with a coding colleague and launched in 2019.

Although it didn't gain much traction, I'm proud of the achievement. It provided me with valuable insights into game development, project management, and running my own small game studio with just two people, complementing my experience in studio employment.

Throughout the process I had pick up wide variety of skills for

• Creating cinematic trailer in cinemaicne

• Character controller and animator setup

• Creating marketing content

• Managing Meta Ad dashboard (Not directly related to games but fun)

• URP render pipeline creation and optimization in unity

• Shader creation with Amplify

Client work

Along with self publishing my small games business has worked for clients such as the Discovery and Meta (Facebook Oculus).

This particular project was my first time creating a VR mobile game for Google Cardboard and Oculus Go hardware. The project was created in unity early 2017.

We created and shipped the game in under 3 months for the client with just myself and my coder developing it.

Hand painted texturing

Some examples of low poly hand painted work

DRAWING

You scrolled this far, here is some of my drawing skills and you can also find my 2D sections here.