TECHNICALLY ARTIST
Is our work still meaningful if it doesn’t cost us something? I’m not sure anymore. I used to think the suffering was the point. That the long nights, the doubt, the failure—that’s what made it real.
But then came the machines. No sleep, no nerves, no heartbreak. Just output. Fast and clean. So I built a little space where the work gets done without the struggle. No one cries there. No one cares all that much either.
I didn’t want to say it was evil. Progress rarely is. It’s just lonely sometimes. The walls are gone, the gate is open, and now everybody’s inside making things. Which is beautiful. And terrifying. And a little sad.
Modeled and rendered in Blender. Textured using a combination of Photoshop and Substance Painter.
POLYPHONIC
As a study in hard surface modeling, I chose to recreate one of my favorite analog synthesizers: the Korg Prologue.
One thing that’s always bothered me about commercial tech renders is how clean they are. Too clean. Like no one’s ever touched the thing. No smudges, no dust, no fingerprints. No story. But real objects carry the memory of their use. The soft grease from our fingers, the halfhearted swipes of a t-shirt across the interface, the stubborn dust clinging to the corners we always miss.
I wanted to hold onto that. To show a machine that’s been loved, not just built.
Modeled and rendered in Blender. Textured using a combination of Photoshop and Substance Painter.
PROJECT THESEUS : REMOTE
While working on my single-player narrative, working title: Project Theseus, I ended up building a lot of things. Little pieces of the world. This remote control was one of them. The story is about how environments shape us—how they change who we are. So I gave the remote a little history. Worn edges. Faded buttons. Something that had been held a hundred times and dropped at least twice. It had seen better days. Like most of us.
Since it was built for use in Unreal Engine, I made two versions: one high-poly, one low. Then I baked the detail from the high-poly version into a normal map for the low-poly mesh in Substance Painter. Standard stuff. Efficient. The result is a game-ready asset with all the scars still intact.
Modeled in Blender. Textured using a combination of Figma and Substance Painter. Rendered in Substance Painter.
PROJECT THESEUS : FLASHLIGHT
I’ve been building the world for Project Theseus, a single-player story about memory, identity, and all the quiet ways a place can shape a person. Along the way, I made this: a Maglite flashlight. Or what’s left of one.
Not the showroom kind. This one’s been dropped on concrete. Rolled under the seat of a truck. Left on through the night more than once. The paint’s chipped. The lens is scratched. The metal’s tired. It still works, but you get the feeling it’s not sure why.
I built it with the game in mind—two versions, high and low poly. I baked the detail down in Substance Painter, let the normal map carry the weight of the wear. So it runs clean in-engine, but it still looks like it’s had a life
Modeled and rendered in Blender. Textured using a combination of Photoshop and Substance Painter.
