Technical 3D Artist Portfolio

AAA2: Data Mutations: All That Is Solid Melts Into (PC, Mac)

Process and final result of drone vision shader.
  • Usage of XY World Space as UV Co-Ordinates - resulting in contour map appearance.

Slaptastic (iOS)

At my time at I designed and created many AR effects for the App series (, Slaptastic, Zoom Boom).
  • The drawn heart effect uses a mesh featuring gradients in separate vertex colour channels as UV information to make the stroke both get drawn length-ways and widen over time. 
  • For the Perfume effect the perfume bottle proved challenging as we could not use alpha blending for the glass. I created an inner liquid mesh, and the bottle itself uses inverse culling to appear transparent, with an additive specular highlight using back-face culling to add a convincing illusion of the bottles transparency and to create a distinct foreground and background to the asset.
  • In designing assets for products, we created an art style of saturated/colourful objects with distinct forms and low contrast. We did this as it made the assets readable across the enormous range of environments captured on a phone camera which often feature general desaturation and high contrast.
    With this in mind, I created a general purpose shader for design team to create materials with. This shader used an input of a single texture to create a cel shaded material using a separate gradient for both lit and shadowed areas with light information used as a mask between the two. The feathering of the light mask could also be altered to create either a hard shadow line or a soft matte look.

It Collapsed Out of Shame (Film)
Duchamp’s Fountain destroyed in a zero gravity environment.
  • Modeled from archival photos and additional research on porcelain urinals. It was necessary to model the internal pipes and hollowed out structure of the urinal, resulting in a challenging topology (effectively, if you were to 3D print the mesh, it would be a functioning urinal).
  • A non-destructive workflow in Houdini was utilised to design a visually satisfying, art directed result for the fragment pieces. Techniques used to distribute fragments included vertex painting and layered noise calculations.
  • Animating the explosion physics proved challenging as the object needed to orbit on its axis yet explosion debris needed an outward radial force without the orbit influence.

Virtual Reality installation in which users collaboratively build structures.
  • Modular pieces were designed in Cinema 4D with nulls representing co-ordinates for pieces to connect with each other (similar to lego bricks). The Z-Axis of the parent Null determines the rotation of the connecting piece.
  • In Unity I created a script to recognise a module piece on import, and automatically attach the corresponding unity components needed for the module prefab. This meant that transition from asset creation to functional prefabs was virtually instant, resulting in a workflow suited for continuous iteration.

Dragon Season (iOS, Android)
Endless runner for smartphones in which seasons change during a run.
  • A design challenge experienced during Dragon Season was all assets were reused in multiple seasons/colour schemes. To create a fast workflow in which we could quickly iterate colour schemes without re-texturing or re-exporting a large pool of assets we designed a texture atlas all environment assets referenced. Not only did this significantly reduce texturing time, but it also massively reduced file size and draw calls due to the game effectively having only four textures and one shader despite such a large library of environmental meshes.

Procedurally generated brutalist tower structures created from modular pieces.
  • Extensive use of LUT animation within Unity.
  • Infinite ocean pattern generated through single mask texture projected in XZ World Space at three sizes, masking itself recursively.

AAA2: Data Mutations: All That Is Solid Melts Into (PC, Mac)

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