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I am a final‑year BA Computer Games Art student specialising in three‑dimensional environment and prop creation.
Proficient in Maya, ZBrush, Photoshop, Substance Painter, Substance Designer, and Unreal Engine, I create assets from rough block‑outs through sculpting, retopology, baking, texturing, lighting, and in‑engine optimisation.
My research-driven process begins with mood boards and thumbnail sketches to lock in a clear, strong early visual direction. I relish compact, detail‑centric briefs, hand‑crafted firearms, characterful melee weapons, treasure chests, weathered barrels, and other storytelling set‑dressings that reward close inspection.
Beyond bespoke hero pieces, I embrace production‑minded workflows for expansive scenes. I build modular kits, trim sheets, and smart materials that keep visual language cohesive, accelerate white‑boxing iterations, and preserve precious texture memory using clear naming conventions, structured hierarchies, and disciplined versioning.
I especially enjoy the sculpting stage of a project, when I create stylised details for a wide range of assets.
Whether refining a single prop or orchestrating a sweeping vista, my goal remains constant: communicate narrative through silhouette, shape, and shader; delight players with bold form language, tactile materials, and vibrant hues; and guarantee every vertex, polygon, and pixel earns its place in the final interactive experience across diverse game genres.
My project depicts a stylised, medieval-style diorama of a medieval streetscape, with its repeating timber-frame facades, plaster surfaces, cobblestone ground tiles, and foliage growing across walls and roofs.
Props are scattered around the scene to develop storytelling, build on the abandoned narrative, and create an immersive atmosphere which helps break apart scene repetition.
This project was an ideal sandbox for refining my texturing, variation, and asset organisation skills. I established four criteria for success: sculpting quality, texture performance, modular kit composition, and time management, to assess whether a stylised medieval street diorama could meet professional standards.
The art style for this project relies on “chunky-but-soft” silhouettes, gentle edge highlights, and low-noise albedo maps. Because the surface language is simplified, every visible brushstroke or sculpt cut must be intentional, as poorly controlled tool marks are much more apparent than in photoreal assets. Achieving consistent softness becomes a benchmark for sculpting quality in the project.
Along with this high-contrast aesthetic, I focused on developing a modular workflow for the building assembly, employing bright colours to create a warm, vibrant, and busy scene that’s full of life.
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