Professional Work
Highlighted Projects
Parallel TCG - Parallel Studios
I joined Parallel TCG as a Technical Artist, initially focusing on adapting the PC-based 2D card game for mobile platforms, optimizing assets, UI elements, and visual effects to meet mobile performance requirements while preserving visual quality. As development shifted toward a fully realized 3D experience, my role expanded significantly to include 3D asset optimization, lighting implementation, animation integration, and VFX development. Working closely with artists, designers, and engineers, I helped establish efficient workflows, addressed rendering and performance challenges, and supported the transition to a more dynamic and visually immersive experience while maintaining consistency and performance across PC and mobile platforms.
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Elemental Blast - TicToc Games
Elemental Blast was a mobile game research and development project at TicToc Games, designed to explore a draw-to-match gameplay system featuring unique power-ups, visual effects, and a distinctive artistic style. As Lead Technical Artist, I was responsible for implementing the game’s foundational systems and visual presentation, including UI integration, VFX, and overall game flow. Working closely with the Art Director and Head Engineer, I helped transform the initial concept into a functional, visually polished prototype that demonstrated both the gameplay mechanics and creative direction. The project ultimately served as a reusable foundation for future development, with its underlying structure and implementation providing a template for additional projects at TicToc Games.
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Funko Pop Blitz - TicToc Games
I joined Funko Pop! Blitz as Lead Technical Artist, overseeing technical art production and supporting ongoing live operations for the established mobile game. I coordinated a team of Technical Artists based in the Philippines, managing the implementation of new characters, optimizing existing game assets, and supporting the delivery of recurring in-game events. My work helped maintain a consistent content production pipeline, improve asset efficiency, and support regular game updates while preserving visual quality and performance. By coordinating technical art responsibilities across a distributed team, I contributed to the game’s ongoing content delivery and live-service stability.
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Jean Paul Gaultier- VNTANA
Jean Paul Gaultier approached VNTANA to develop an interactive holographic perfume catalog for its European retail locations, primarily in Portugal. The experience was inspired by an existing advertising campaign for a new fragrance collection, with the goal of translating its distinctive visual style into an immersive holographic experience. My role covered much of the project’s visual development, including modeling the environment, perfume bottles, pipes, and valves, as well as creating the visual effects and developing custom materials using Shader Forge. The project gave me the opportunity to work across several aspects of 3D production, bringing together modeling, shaders, and VFX to recreate the campaign’s aesthetic in a real-time interactive experience.
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Holographic Arcade, LINQ Hotel - VNTANA
In the spring of 2019, VNTANA partnered with the LINQ Hotel in Las Vegas to develop a series of interactive holographic mini-games, along with a mascot character who would introduce players to each experience. I was responsible for establishing much of the project’s visual direction, including the design of the mascot, visual effects, and custom shaders used throughout the games. One of the biggest challenges was creating intuitive, engaging interactions using the Xbox Kinect’s motion-tracking technology, while ensuring that the visual effects maintained a convincing sense of depth within the holographic display. The project required a balance of creative design and technical problem-solving to bring together character art, real-time VFX, and gesture-based gameplay into a cohesive interactive experience.
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Additional Projects
Horse Power - Ioconic.io
I joined HorsePower as a Contract Technical Artist, contributing to an online horse racing simulation where players could raise, breed, race, and trade horses competitively. The project initially utilized Unity for its mobile application and Unreal Engine to render simulated races, which were streamed directly to players through pixel streaming. My primary responsibility was developing and maintaining horse shaders across both engines, ensuring that each horse’s unique visual characteristics and customization features remained consistent between Unity and Unreal. As the project evolved, the team transitioned away from pixel streaming due to its high operational costs, moving the racing simulation entirely into Unity. My responsibilities subsequently expanded to optimizing high-poly 3D assets, reworking mesh topology, and adapting models to meet mobile performance requirements while preserving their visual quality.
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Tic Toc Games
I joined TicToc Games in the spring of 2020 as a Technical Artist, marking my first dedicated role in Technical Art. My initial responsibilities focused on UI implementation, developing 2D visual effects and custom shaders, and optimizing assets for mobile games. Coming from a predominantly 3D background, adapting to the demands of 2D mobile development presented a new set of challenges, but I quickly found my footing and contributed to two major projects that ultimately remained unreleased.
In 2022, I was promoted to Lead Technical Artist on Funko Pop! Blitz, where I helped support ongoing development and live operations while coordinating a small team of Technical Artists based in the Philippines. I later transitioned to Elemental Blast, an internal R&D project designed as both a reusable game template and a pitch to potential publishers.
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VNTANA
I initially joined VNTANA as a contract 3D Artist, working on an interactive holographic experience for a Star Trek-related event. Following the success of that project, I was brought on full-time, taking on responsibilities that included 3D modeling, rendering, and optimizing client-provided assets for use in VNTANA’s holographic technology.
VNTANA was a fast-paced environment, with many projects requiring turnaround times of just a few weeks. During my time there, I had the opportunity to work with major brands and organizations, including Jean Paul Gaultier, Adidas, Tesla, Disney, the City of Los Angeles, and the MTV Music Awards. These projects gave me considerable experience creating interactive 3D content, developing shaders and visual effects, and adapting artwork to the unique requirements of holographic displays.
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Architectural Renderings - US Home Developers
At US Home Developers, I worked as the Lead 3D Rendering Artist, specializing in architectural visualization using Autodesk 3ds Max. Working closely with designers and draftsmen, I was responsible for translating architectural blueprints into detailed 3D renderings that helped communicate design concepts to clients.
The work was fast-paced, with many projects requiring completion in just a few days. To meet these deadlines without sacrificing visual quality, I continually explored more efficient modeling, rendering, and production techniques. I also worked alongside another 3D Artist, delegating tasks and coordinating our workload to keep up with the high volume of projects. This experience strengthened both my technical skills and my ability to manage production under tight deadlines, while developing a practical approach to balancing visual quality with efficiency.
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Applo - Web Strategy Game
Applo was a browser-based strategy game inspired by titles such as Travian and Age of Empires, combining traditional strategy gameplay with more detailed visuals and distinct playable factions. As part of the original development team, I was responsible for much of the game’s artwork and visual direction, including its UI design. Most of the game’s assets were modeled in 3D before being rendered into 2D graphics and animated GIFs, allowing us to achieve a more detailed visual style while working within the limitations of browser-based gaming at the time.
As development progressed, we also began experimenting with Unity3D as a way to introduce a fully playable 3D version of the game for premium users. This was my first experience developing for a web platform, and it introduced me to the challenges of balancing visual quality with performance and loading times. Despite being a relatively small project, Applo grew organically to several thousand players at its peak. It was an important early experience in my career, giving me the opportunity to contribute to nearly every aspect of a game’s visual development while exploring new technologies and production techniques.
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Ludusent Inc
Ludusent was my first professional position as a 3D Environment Artist, where I was responsible for creating a wide range of natural and architectural assets for game environments. Much of my work focused on exploring techniques to achieve high-quality visuals within the technical limitations of game development at the time. Using tools such as SpeedTree, I developed detailed foliage, landscapes, and structures while learning how to balance visual fidelity with real-time performance.
I later became more involved in the development of Skyhunter, Ludusent’s second project, an ambitious open-world aerial shooter. On this project, I took on greater responsibility for developing the game’s environments and establishing its visual identity. Unfortunately, the studio was forced to close during the 2008 global financial crisis, leaving Skyhunter unreleased. Despite its short lifespan, my time at Ludusent provided an important foundation for my career, allowing me to develop my skills in environment art, real-time rendering, and the technical considerations involved in building game worlds.