3D Character Designer Based in California.

3D character design lives at the intersection of art and engineering — and that's exactly where I've spent my career. As a 3D character designer, I sculpt original characters in ZBrush, retopologize and rig in Blender, and prepare them for animation, real-time engines, AI-driven storytelling, and printable physical work. Started as a 3D animator at Auxilium Studios in 2004; never stopped.

Every model I build begins with a clear concept — usually one I've already designed in 2D — and goes through a full production pipeline: blocking, high-poly sculpt, retopology, UV unwrap, texture, rig, and pose. The goal isn't a pretty turntable. The goal is a character that animates well, deforms cleanly, and reads as the same character from every angle.

What I build in 3D

• Original 3D character sculpts — stylized, semi-realistic, or fully realistic
• Production-ready retopology with clean edge flow and animation-friendly topology
• UV unwrapping, baking, and PBR texturing
• Rigging and skinning — body, face, props
• Hard-surface accessories: weapons, costumes, props, vehicles
• Hero shots, turntables, and marketing renders

The 3D pipeline I use

ZBrush for high-poly sculpt and detail (DynaMesh, ZRemesher, surface detail, polypaint). Blender for retopology, UV, rigging, and final render — sometimes Cycles, sometimes Eevee for stylized work. I integrate hand-painted textures from Photoshop and Procreate when stylization calls for it. For animation handoff, I deliver clean FBX/GLTF with named bones, control rigs, and a basic pose library so animators (or AI motion tools) can pick the character up and run.

Where 3D meets AI animation

I've been integrating 3D character work with AI-driven animation pipelines — designing characters with consistency reference sheets that work for both traditional animation and modern AI workflows. See the AI Animation reel for examples of how these pipelines combine.