After a specific specialisation? Character Modeling hub →
Ten years of ZBrush sculpting for film, collectibles and real-time pipelines. I use AI for moodboards and pitch animation — the sculpt itself is always mine, by hand.
Before I touch a polygon, I'll put moodboards and silhouette options in front of you. Changing your mind is cheap at this stage and expensive later, so we settle the target here.
This part is all hand work. I sculpt in ZBrush — anatomy, gesture, and topology clean enough to hand straight to whoever needs it next.
A still render is a hard sell in a pitch meeting. I can run the finished sculpt through Kling AI or Runway Gen-3 to add a breath, a small shift of the eyes — enough to make the character feel alive on the screen behind you.
File naming, versioning, the tedious technical passes. I automate what I can so the hours go into the sculpt and the deadline still holds.
Per-shot corrective sculpting inside a VFX pipeline. I did this at Framestore London on Tom & Jerry and The Little Mermaid — geometry that holds its topology, so lighting and rendering never wait on me. Explore Shotsculpting →
Ten years of toys and miniatures that actually got made. I think in draft angles, wall thickness, undercuts, and where to key and cut a resin kit — before the sculpt turns them into a problem. Explore Collectibles & Toy Design →
Clients: Schleich, Aixsponza, bEpic, DogstudioGetting pre-rendered quality into engine: Unreal Engine 5, MetaHuman-compatible topology, and Houdini for the procedural parts.
Framestore film credits, Schleich toy lines, resin miniatures and portrait work — all of it in one place.
Explore the full portfolio →