Designer, art director, and the person who reads the file format.

Most of my career has been brand work: identities, guidelines, packaging, print and websites for small companies where I was the only designer. That meant owning the whole thing — the idea, the execution, and every awkward production question nobody else was going to answer.

The game work grew out of the same instinct. At Allstar I started with a creative brief — put a brand inside Counter-Strike 2 — and found that the interesting problem was not what it should look like but whether it could exist at all. The engine is closed, the asset formats are undocumented, and the only way forward was to investigate it myself, build the assets to what I learned, and iterate until the thing held up in a live match.

That is the work I want more of: briefs where the visual idea and the technical route have to be figured out together, because neither one survives being decided in isolation.

I worked concepts out where they would actually live rather than on a board: a picture of the proposed asset in first person, on the real map, in the real light — assembled from the game's own frames and the client's assets, with generative tooling where it got me to a decision faster. That was the concept stage; what shipped was built afterwards, to the engine's constraints. The full method is written out in the first case study.

I am not a software engineer and I do not present myself as one. What I do is design-led technical problem solving — enough depth to get a thing working and to talk to engineers as a peer about how, without pretending the engineering is my discipline.