01
Clear silhouettes
I try to make potions, doors, and ledges easy to pick out in a hurry. Hero props get the extra attention; the rest of the kit supports the path.
Open to studio and remote
3D prop & environment designer. I model the objects and spaces players move through — props, rooms, and the path between them.
2D/3D Data Imagery Editor at Apple

01 — Selected work

2025 · Student / indie team
Level designer & prop designer
A shop-driven potion-crafting game around a fairy potion-master. I built a floating island forage level so a flying mount could move in the open, then lit the world and dressed the backdrops so it felt larger than the playspace.
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2025 · Student / indie team
Prop designer
A time traveler’s machine has crashed on a planet. To leave, you move between realms and gather the materials the machine still needs. I designed the props that help teach that loop.
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2024–2025 · MMKPC Studios
Prop designer & level designer
A third-person game in the RhythmVerse. I authored diegetic holograms in the material editor, built the attic they belong to, and laid out a secret stage whose Niagara effects change color and intensity with the song. I also managed the prop assets so they stayed inside acceptable size and budget.
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Ongoing · Independent
Prop designer
Props with no shipped title attached. A bridge, a pillar, a table, a pendant, a skeleton — modeled, shaded, then placed in a scene to see how they sit.
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02 — Practice
I usually start with a greybox, then dress. Hero props should still be easy to pick out when you only have a second. A shop, a floating island, an attic — each space is trying to make the next step obvious. I work in 3D so the world and the play stay in the same conversation.
01
I try to make potions, doors, and ledges easy to pick out in a hurry. Hero props get the extra attention; the rest of the kit supports the path.
02
Collision, cover, and sightlines come first. Dressing is how the world explains those choices — not wallpaper on top of a greybox.
03
Modular pieces should combine without looking like a pile of repeats. A bit of trim, wear, and a few authored heroes go a long way.

Blockout, kit, hero, dress. I stay close to the player path so the art and the movement agree with each other.
Software
3ds Max · Blender · Maya · Substance Painter · Unreal Engine · Unity · ZBrush · ShapeLab · Fusion 360 · AutoCAD · SolidWorks · Photoshop · Premiere Pro · Jira

03 — About
I’m a 3D prop and environment designer. I greybox spaces, build modular kits, and put hero objects where the player is likely to look. A lot of the work sits between art and design: how a hut reads from the air, how a hologram marks a doorway, how a rug and a row of vinyl make an attic feel lived in. At Full Sail my thesis focused on diegetic user interfaces — information that lives in the world instead of on a HUD. The holograms on RHM grew out of that.
On Elixir Blitz: Saya’s Trials I was a level designer and prop designer, with a few passes of gameplay work. I built a floating island so a flying mount could forage in the open, then lit it and dressed the backdrops so the world felt larger than the playspace. On My First Regeneration I designed props for a crashed time traveler — a drone, a reactor, and the crystals that help you leave. On RHM: The Foundation I built holograms in the material editor, the attic they sit in, and a secret stage with audio-reactive Niagara. At Zygobot Studios I managed and authored assets for Unreal and Unity so props stayed inside size and budget. Between projects I keep a small shelf of independent props: a bridge, a pillar, a table, a pendant, a skeleton.
I earned a B.A. in Game Design at Southern New Hampshire University in 2024, then an M.S. in Game Design at Full Sail University in 2025, graduating as valedictorian with a 3.96 GPA. I’m based in Princeton, Texas, and looking for 3D environment and prop roles — kits, hero objects, and levels that feel good to play in.
04 — Contact
3D prop and environment roles, level dressing, and kits. I read every note.
Princeton, Texas · Open to studio and remote