reel

a collection of commercial vfx and personal visual work from 2024

work

Currently, I'm helping Sago Mini develop some unannounced mobile projects.Previously, I've contributed VFX, technical art, and 3D art production to mobile, VR, and console titles.During the school year, I also lecture in 3D game art and technical art at Pratt Institute.

personal

about

-realtime technical artist focused on expressive animations, striking visual effects, and creative processes for games and interactive projects
-passionate about connecting people through expressive visual direction, play, and faces
-seeking collaborative opportunities to uplift artist, designer teammates
-raised on the unceded, occupied traditional homelands of multiple Indigenous nations including the Peoria, Očhéthi Šakówiŋ (Sioux), Myaamia (Miami), Kiikaapoi (Kickapoo), Hoocąk (Ho-Chunk), and Bodéwadmiké (Potawatomi)
-located on unceded, occupied Lenapehoking, the homelands of the Lenape
-volunteer for public green spaces
-a big bag

Most recently at Sago Mini, we released Superfonik, a mobile game to boost kids' confidence in their reading skills through phonics. I created mini-games, custom shaders, VFX, animations, and editor actions to expedite development process.

Characters, modular environment kit, vfx, and art direction for an independent strategy game. Inspired by serif typefaces.

At Akupara Games, I developed editor tools for myself and other designers and artists, created visual effects and lighting setups to highlight gameplay and environment elements, and profiled runtime performance. I also optimized C# gameplay code, visual effect graphs, and 3D environment assets to achieve consistent 60 frames per second on Meta Quest 2.I led development on:

  • Custom polycount tool for targeted asset optimization

  • Prefab replacement tool for modular level design

  • Texture and prefab asset test that prints asset locations with steps for optimization

  • Channel packing tool for improved material runtime performance in a single click per asset

  • Suite of modular shader graph sub-graphs to speed up custom material creation

  • Complex, gameplay-driven visual effect systems

  • Custom nature VFX for rain, fire, underground streams

  • Projector solution for 2D character that moved along wall geometry

  • Scene lighting and supporting particle VFX

  • Custom VFX for rain, sparkles, highlighting

  • Scene lighting and supporting particle VFX

3D environment and animation created for the American Museum of Natural History's "Impact: The End of the Age of Dinosaurs".I prepared two 11ft tall prints as the backdrops for the "Before" and "After" dioramas and two looping animation sequences that were reverse-projected onto the "Before" backdrop. I collaborated directly with the museum preparators to match the backdrop as closesly to the models they were creating in the physical space as possible, resulting in the production of a fully immersive scene with the advantage of a flexible digital pipeline.

Underwater reef environment I created for the Hunt like a hammerhead interactive at the American Museum of Natural History. The 3D scene was designed as an on-rails experience where players can learn the hammerhead's role in the ecosystem and use their ability to sense electric fields.

  • Sculpted, textured Unity terrain to follow the day of a shark — from swimming with the pod through the reef to hunting for stingrays on the ocean floor

  • Optimized 20 coral reef environment models and laid out hundreds of static instances

  • Set up dynamic lighting and particle systems that changed with the time of day in the experience

VFX and UI animations for Bellemint, a mobile fashion game released worldwide February 2025. I jumped in during the final polishing stage of development to create all shaders, textures, animation sequences, and scripting for controlling the visual effect animations.I also took on some technical aspects:

  • Created a setup to convert any string input into a firework particle effect

  • Wrote a custom Text Mesh Pro shader to display a string as a sparkling LED screen

  • Optimized complex particle system emitters to work within the locked 60 FPS mobile constraint

165.5-acre La Carolina Parque mesh and texture. Drone photography to 3D mesh process for realtime application, with optimization for Switch platform. Each batch of photos was ran through Polycam to generate a mesh "chunk", meshes were aligned with MeshLab, then chunks were imported to Blender for manual edits and optimized for realtime with a custom decimation and texture reprojection tool I created.Additionally, I also contributed 3D mesh optimization and rendering performance.

I joined Eternal initially as a 3D artist but given my programming experience I quickly stepped into a larger role leading technical art and art direction aspects of production, along with some visual concepting. I worked with external 3D artists, providing feedback with respect to both mobile performance and the custom avatar editor system I designed. I established style guides to optimize the product's visual cohesiveness and technical overhead.I led creation of:

  • Customizable avatar system with swappable heads, tops, bottoms, and shoes

  • Stylized shaders for character, environment, and props

  • Particle VFX for gameplay and environment interactions

  • Maya to Unity pipeline for 3D assets, rigging, and animation

Custom VFX and animations created in Unity and Unreal.I authored all aspects from texture and shader creation to procedural animation tools and C#/Blueprints implementation. I use Photoshop or Procreate for intentional hand-authored textures and Substance Designer and After Effects for modular setups and texture sheet animations.