My strongest 3D skill is modeling, largely due to it being my favorite part of a 3D workflow. A diverse background in physical build projects translates well to 3D modeling. A keen eye in scale and form helps produce realistic and more compelling models. I’m just as comfortable modeling hard surface objects for industrial design as organic models from characters to plants. My models have clean topology with proper edge flow for crisp subdivisions and flexible animations. Since 2010, I’ve become well versed in Blender & 3DS Max.


Proper textures are a product of clean UV’s and I make sure all my models are outfitted to impress. Even though high poly baking is categorically more model heavy, I still consider it part of the texturing family. I enjoy producing hand painted textures and produce a handful of them directly from blender and Photoshop along with PBR textures and physical shaders.


I rig my complex models to pose in a scene render. I rig for constraints, inverse kinematics, forward kinematics, deformers, and weight painting.


For me, lighting may be the most dynamic stage in a 3D workflow. So much can be interpreted from lights. To properly light a scene is an art in itself. I want to say it’s always simple, but the truth is lighting a 3D scene can quickly get complicated, especially with different textures and shaders that reflect, absorb, interpret and translate light rays differently.


The only thing left to do is press that render button and everything renders perfectly! If only it were that easy. Render settings are crucial to achieving desired results. From caustic options to render passes, the more knowledge in setting up a render the faster the render time without any undesirable surprises.


Some may call it a day, once a render calculation is complete. For me, a render is incomplete until it’s been properly composited in Photoshop, and when so much has gone into a project, it’s a shame to leave a 3D render incomplete at the finish line. Compositing allows advanced shading, lighting and texture control that any 3D software cannot produce on its own. The final result of a composited render next to a regular render is obvious and once you’ve composited, you can never go back.



  • 3D Generalist


  • Aerospace

  • Architecture

  • Automotive

  • Characters

  • City Scapes

  • Environments

  • Floor Plans

  • Food

  • Hard Surface

  • Industrial

  • Landscapes

  • Mechanical

  • Organics

  • Pharmaceutical

  • Plants

  • Rocks


  • 3D Studio Max

  • After Effects / Element 3D / Trapcode

  • Audition

  • Blender

  • Headus UV

  • Illustrator

  • Mudbox

  • Photoshop

  • Premiere

  • Quixel