20+ years setting visual direction and leading teams from concept to launch.
Selected work
How I set the visual direction, built the teams, and took the work to players.
Director of Art, Warner Bros. Games Boston, 2021–2025
Bring House of the Dragon to phones. Team of 20+ artists, globally distributed. Led art from concept through soft launch.
View case study →Senior Art Director, Zynga (San Francisco), 2016–2019
AAA mobile city builder built in Unity. My job was to define what a modern AAA CityVille should look like.
View case study →Founder, Creative Director and Art Director, Muti Labs (Santa Monica), 2012–2016
Sci-fi IP. Mobile card battler built in Unity. Released on iOS in 2016 with 250 cards.
View case study →
Days of Discord, revisited
21 character turnarounds, a remastered battle and animated abilities for Days of Discord.
View case study →Tools
Review and production apps for comparing, annotating and generating art.
Best on a desktop browser
Browser app · image, video and audio review
Load 1–4 images, videos or audio files and compare them side by side or stacked, with wipe and difference modes, a zoom loupe, synced playback, scopes, waveforms and loudness metering. No install, and it can be added as an offline app.
Try WarpDiff →
Browser app · media annotation
Annotation for audio and video: choose tracks such as speech, music, SFX, ambience, artifacts and subtitles, then mark ranges on a timeline, with a spreadsheet view and keyboard-driven playback.
Try WarpSonic →
Browser app · 3D model comparison
Compare and inspect two GLB model candidates side by side, with wipes and wireframe, clay, material and unlit views, plus a reference image and HDR lighting. Local files stay in the browser.
Try it with sample models →Screenshot model: Car Concept by Eric Chadwick, © 2024 Darmstadt Graphics Group GmbH, CC BY 4.0. Shown as the full model (A, 213,347 triangles) beside a simplified version (B, 94,033 triangles).
macOS desktop app · image-to-3D generation
Turns a single image into a textured 3D model, exported as a GLB that loads straight into 3D Review for side-by-side comparison.
Not available on the webShowreel
Reel, 2026
Reel breakdown
What I did on each project
Disney Interactive Studios · Black Rock Studios · 2010
Director, Visuals
Gave critical feedback on vehicle designs, effects animation, camera, editing, lighting and visual effects.
Disney Interactive Studios · Avalanche Software · 2010
Director, Visuals
Advised on rendering techniques, camera, lighting and visual effects.
EA Games · Redwood Shores · 2004
Principal Art Director
Responsible for the look of every visual aspect of the game.
Disney Interactive Studios · Eurocom · 2011
Director, Visuals
Critiqued character designs, animation, lighting and visual effects.
Disney Interactive Studios · Propaganda Games · 2008
Director, Visuals
Gave critical feedback on character designs, animation, camera, lighting and visual effects.
Disney Interactive Studios · Eurocom · 2007
Director, Visuals
Gave notes on character models, animation, camera, lighting and visual effects.
Disney Interactive Studios · Propaganda Games · 2010
Director, Visuals
Reviewed and critiqued animation, camera, lighting and visual effects.
Naked Sky Entertainment · 2006
Art Director
Responsible for the look of every visual aspect of a game that had to fit into a 48 MB download.
Disney Interactive Studios · Junction Point Studios · 2010
Interim Art Director; Director, Visuals
Worked closely with the dev team to establish key look issues and methods to accomplish them, and gave critical feedback on environments, animation, camera, lighting and visual effects.
Columbia Pictures · dir. Paul Verhoeven · VFX supervisor Phil Tippett · 1997
Visual Effects Supervisor
Supervised lighting of the giant bugs and plate photography for a majority of shots, and developed techniques to recover camera position, scene lighting information and terrain modeling.
Universal Pictures · dir. John Bruno · 1999
Visual Effects Supervisor
Supervised plate photography and development of the ocean and hurricane effects.
Paramount Pictures · VFX supervisor Scott Farrar · 1991
CG Supervisor
Responsible for look development and implementation of the Praxis blast wave and the computer-generated Klingon blood, across numerous shots.
20th Century Fox · dir. James Cameron · VFX supervisor Dennis Muren · 1991
CG Supervisor
Led look development and implementation of the majority of T-1000 shots, including supervision of plate photography.
20th Century Fox · dir. James Cameron · VFX supervisor Dennis Muren · 1989
CG Supervisor
Responsible for look development, animation and implementation of all pseudopod (water tentacle) shots.
Warner Bros. · dir. Antony Hoffman · 2000
Visual Effects Supervisor
Responsible for all plate photography, shot design, and AMEE character look development and animation.
Warner Bros. · dir. Griffin Dunne · 1998
Visual Effects Supervisor
Led the team that created the particle effects throughout the film.
W.B. Doner · dir. Joe Johnston · 1991
Visual Effects Director
Responsible for character design, animation, plate photography, lighting and compositing of the flying engines.
Foote, Cone & Belding · dir. Marco Brambilla · 1996
Visual Effects Supervisor
Supervised miniature set photography, motion-control photography of various cars, development of the CG shell interior and the final composite.
Milk Processors · Goodby, Silverstein & Partners · dir. Kinka Usher · 1995
Visual Effects Supervisor
Supervised plate photography and compositing of the cel-animated Trix rabbit.
Hakuhodo · 1997
Director
Conceived and executed a spot in which a single car seamlessly transitions between urban and suburban locations while the camera moves around it in a single take.
Bozell · dir. Eric Saarinen · 1994
Visual Effects Supervisor
Developed 3D camera-tracking techniques to recover camera position from live action, and supervised plate photography, modeling and lighting of the snow trail and the multi-element live-action composites.
Selected credits
About
I’ve led art for games played by millions, most recently as Director of Art on Game of Thrones: Dragonfire at Warner Bros. Games, where I built a 20+ person global team and took it through soft launch. Before that I directed visuals for Disney Interactive (Toy Story 3, TRON: Evolution, Epic Mickey), led art on EA’s James Bond 007 games, founded the studio behind Days of Discord, and started my career in film VFX on Terminator 2 and The Abyss. I partner closely with engineering, design, and production to turn ambitious visual goals into games that ship, and I bring hands-on experience with real-time pipelines and AI-assisted workflows. Based in San Francisco.
