About

I’m a polymath technical art leader who bridges art, tools, engine, and product.

I’m a Principal Technical Artist and tools/engine specialist with 30+ years in AAA game development, working across content, design, production, and technology. I help teams ship large, beautiful games more reliably by building the tools, pipelines, and systems that keep artists moving and engines happy.

I don’t fit a mold, and that’s intentional. I’m a multi‑passionate polymath and autodidact: educated in digital arts, self‑taught in most of the engineering, tooling, and systems work I do today. My value is in connecting disciplines and turning that breadth into practical systems that artists, designers, and engineers actually enjoy using.

What I Do

Teams bring me in when they’re hitting walls with content scale, performance, or toolchain complexity. My focus areas include:

• Technical Art Leadership – Bridging art, engineering, and design
• Engine, Tools & Pipeline Development – Game engine features, custom tooling, asset pipelines, workflow systems
• Real-time Rendering – HLSL shader development, lighting systems, performance
• Python-based Tooling – DCC integrations, pipeline automation, artist tools
• Procedural World-Building – Terrain systems, environment art workflows
• Performance & Memory Optimization – Keeping large worlds running smooth

Whether it’s authoring shaders, building Python tools for Maya/Blender/DCC apps, designing procedural content systems, or optimizing rendering pipelines, I work at the intersection where art needs meet technical constraints.

The Journey

I started in 1993 as a Media Service Intern at Strata3D, making 3D clip art for a graphics company. My first 3D point-and-click adventure game took three years to make and was released in 1996. I’ve been immersed in the 3D entertainment and video game technology world ever since—over 30 years now.

My career has unfolded through four distinct phases, each building on the last:

Phase 1: Game Development (Artist → Project Lead)

I started as a 3D Artist, progressing through Game Designer and Creative Director roles, eventually running teams and projects. At Ritual Entertainment, I led development on Elite Force 2—managing the full production cycle from art and design through shipping.

Phase 2: Producer & Product Development

At Rockstar Games, I shifted into a Producer and Product Development track, working on the Grand Theft Auto and Red Dead franchises. This phase taught me how large open-world teams operate, how to scale content pipelines, and how to think strategically about production infrastructure. I wasn’t yet “technical art”—I was learning how massive AAA games get made from a production and product lens.

Phase 3: Technical Art Specialization

Joining Incognito Entertainment/Lightbox (Sony Santa Monica), I pivoted into Technical Art, working on Starhawk and Warhawk—large-scale multiplayer titles where performance and workflow efficiency were critical. At Bluepoint Games, I deepened this expertise on PlayStation remasters including Uncharted: The Nathan Drake Collection and Gravity Rush Remastered (PS4/PS5), focusing on visual fidelity, optimization, and cross-platform rendering.

Phase 4: Engine, Tools & Cross-Functional Leadership

My most recent phase has been in game engine and tools development—a natural evolution that draws on all prior experience. At MaxPlay/OrigamiSky, I worked on cloud gaming infrastructure (MaxPlay GDS). At Amazon/AWS (2016-2023), I led technical art and product initiatives on Open 3D Engine (O3DE) and its Atom renderer, AWS Lumberyard, establishing Python-based tooling ecosystems and procedural world-building systems. Returning to Bluepoint Games in 2023 as Principal Technical Artist, I’m now applying that engine-level expertise to next-gen PlayStation development, building robust Python pipelines (PySide6, async/concurrent patterns), custom DCC integrations, procedural tools, and runtime optimizations for PS5. This work is deeply cross-functional: writing shaders, architecting tool APIs, designing workflows, profiling performance, and defining technical vision—all informed by decades of shipping games and understanding what teams actually need.

The Through-Line

Each phase gave me a different lens: artist empathy, production discipline, technical depth, and engine-level systems thinking. Combined, they make me effective at the intersections—between art and engineering, content and performance, vision and execution. I’ve collaborated with teams at EA, Activision, Atari, Take-Two/Rockstar, Sony, Amazon Game Studios, and AWS Game Tech. I’m Scaled Agile certified and comfortable operating at both hands-on (writing shaders, scripting tools) and strategic levels (defining workflows for 100+ person teams).

Recent Work

I currently work at Bluepoint Games (Sony SIE, PlayStation) as a Principal Technical Artist, leading technical art and tooling initiatives for next-generation PlayStation development on an unannounced PS5 title.

Prior to that I worked at Amazon Web Services (AWS) as a Senior Design Technologist and Product Manager, focused on making AWS a visual technology powerhouse for game developers, filmmakers, and real-time 3D creators. This includes work on the Open 3D Engine (O3DE), an Apache 2.0-licensed multi-platform 3D engine that enables developers to build AAA games, cinema-quality worlds, and high-fidelity simulations without fees or commercial obligations.

My work spans:

• Runtime performance and PS5 hardware optimization
• Game engine requirements, feature and tool design, UX research
• Modern Python pipelines (PySide6, async/concurrent patterns)
• Custom DCC integrations (Maya, Substance, Photoshop)
• Procedural level-generation tools and world scaffolding
• Artist-centric workflows and professional coding standards
• Deep runtime profiling while maintaining visual quality targets

This site (CO3DEX) is my personal codex—a collection of technical art knowledge, tutorials, tools, and explorations across 3D graphics, game engines, rendering, procedural generation, and the creative technology that powers modern interactive experiences.

Let's Work Together

If you're a studio or tech organization wrestling with tools, pipelines, procedural worlds, or rendering performance and need principal‑level ownership on the boundary between art and engine, I'm available for consulting and collaboration.

Reach out:

Email Me Visit Legacy Portfolio

Disclaimer: The postings on this site are my own and do not necessarily represent the postings, strategies, or opinions of Sony, PlayStation, Bluepoint Games, or any of my current or former employers.

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