PROJECTS
TV Anime
Legends of Evergreen Hills
Role: Character Animation
Tools: Maya and ShotGrid
Year: 2025
Worked on Legends of Evergreen Hills as a character animator at Giant Animation, a Dublin-based studio in Ireland. The series is available through the A Chick-fil-A Play App, a U.S.-based children’s entertainment platform.
Fate/Grand Order – Absolute Demonic Front: Babylonia
Role: Environment Modeling, Texturing, Layout, and Compositing
Tools: 3ds Max, Vray, Photoshop, and After Effects
Year: 2019
Contributed to 3DCG environment production for the TV anime Fate/Grand Order – Absolute Demonic Front: Babylonia.
I worked on background set modeling, texture creation, and layout adjustments related to camera work. Additionally, I managed domestic outsourcing tasks including the creation of order sheets for 2D materials and organized production data to support smooth workflow operations.
Games
Inazuma Eleven: Ares no Tenbin
Role: Character Modeling, Texturing, and Effects
Tools: Maya, Photoshop, Mizuchi, Excel, and Word
As a 3D artist, I was responsible for character modeling, texture creation, LOD modeling, and effect production. In addition, I managed domestic outsourcing, created asset specification documents for characters, and handled data organization and management, contributing to improved production efficiency.
Demon Slayer: The Hinokami Chronicles 2
Role: Environment Modeling, Texturing, Layout, and Lighting
Tools: UE5, Maya, Photoshop, and Substance Painter / Designer
Year: 2025
I was responsible for environment art production in the game Demon Slayer: The Hinokami Chronicles 2. My tasks included 3D environment modeling, creation of PBR textures, asset optimization and placement, and lighting to enhance the spatial atmosphere.
Demon Slayer: Sweep the Board!
Role: Environment Modeling, Texturing, and Lighting
Tools: UE5, Maya, Photoshop, and Substance Painter / Designer
Year: 2024
I was responsible for environment art production in the game Demon Slayer: Sweep the Board!. My tasks included 3D environment modeling, creation of PBR textures, asset optimization and placement, and lighting to enhance the spatial atmosphere.
Dragon Quest Monsters 3: The Dark Prince
Role: Cutscene Lead, Layout, and Battle Camera
Tools: Unity, Maya, Photoshop, and After Effects
Year: 2023
As the cutscene lead, I was responsible for creating and supervising animations, directing motion capture sessions, shot composition, and cinematic direction. Additionally, I planned and designed battle camera systems, developed cinematic layout concepts, and managed production progress—contributing across all aspects of visual storytelling.
VR/AR
AR Osaka Railway Museum
Role: Shinkansen Modeling and Texturing
Tools: Maya, Blender, Photoshop, and Substance Painter
Year: 2024
Created 3D assets for the AR Osaka Railway Museum, focusing on Shinkansen train models. Due to mobile app size constraints and a target audience of children, the models were designed with a toy-like, approachable aesthetic while maintaining as much detail as possible. I balanced stylization with optimized performance to ensure both playfulness and visual richness in the AR experience.
VR Kamakura
Role: Character Modeling, Texturing, Joint setup, and Skinning
Tools: Unity, Maya, Blender, Zbrush, and Substance Painter
Year: 2023
As a 3D Artist, I was responsible for character modeling, including high-poly sculpting in ZBrush, retopology in Maya, texture creation, LOD modeling, joint setup, and skinning. The models were optimized for real-time performance in game engines, with topology carefully designed to support the movement of wings and legs while maintaining visual fidelity.
Humanoid flying creature
LOD Information (approx.):
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LOD0: ~3.3K polygons (~5.4K tris)
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LOD1: ~2.6K polygons (~4.0K tris)
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LOD2: ~1.6K polygons (~2.5K tris)
Spider-like creature
LOD Information (approx.):
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LOD0: ~1.7K polygons (~2.2K tris)
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LOD1: ~1.0K polygons (~1.4K tris)
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LOD2: ~0.5K polygons (~0.8K tris)
VFX
Emberace the Air
Tools: Adobe After Effects
Year: 2025
Retouched and enhanced visuals for Kosuke Yokota’s photo competition piece.Tasks included color grading, texture and light diffusion, background compositing, and subtle VFX.The final image (right) evokes a sense of floating stillness and surreal atmosphere.
Meatball Machine Kodoku
Role: Modeling, Animation, and Keying (for specific shots)
Tools: Maya, After Effects
Year: 2017
For the film Meatball Machine Kodoku, I was in charge of 3D modeling and animation for selected shots. I also handled keying (green screen extraction) for those shots to enable clean compositing. Given the film’s splatter-horror and comedic tone, I intentionally incorporated exaggerated visual elements to match its unique style and enhance the overall impact.
2D Personal Work
TRUFFLE Bakery – Documentary Film
Role: 2D Animation
Tools: After Effects
Year: 2025
Created 2D animations for the documentary TRUFFLE Bakery, including titles and transitions, using After Effects. Focused on delivering warm, understated visuals that harmonize with the tone and storytelling of the film.
Personal Work – Character Animation
Tools: Toon Boom Harmony
Year: 2025
Created character animation exercises using Toon Boom Harmony as part of personal skill development in animation. Focused on body mechanics, weight shifting, emotional performance, and timing to achieve natural and expressive motion. Emphasized rhythm, posing clarity, and storytelling through movement.
3D Personal Work
Personal Project – UE5 VFX Test
Tools: Unreal Engine 5
Year: 2023
Created a personal VFX project using Unreal Engine 5 to explore real-time visual effects. The effect focuses on energy flow and a nebula-like atmosphere, combining particle systems, materials, and lighting. Built primarily with the Niagara system and material editor to achieve a stylized, immersive result.
Personal Work – Character Animation
Tools: Maya
Year: 2023 - 2024
Created a series of character animation exercises using Maya as part of personal development in animation. Focused on body mechanics, weight shifting, emotional performance, and timing to achieve natural and expressive motion. Each shot was designed to improve rhythm, posing clarity, and storytelling through movement.
Personal Work – Clay Head Model
Material: NSP Clay (Medium)
Year: 2017
This is a self-initiated project in which I sculpted a clay head model based on the features of an African woman. Using NSP Clay (Medium), I focused on accurately capturing facial structure, expression, and texture. The project served as a study in form and anatomy through traditional sculpting techniques, aiming to strengthen my observational and modeling skills beyond the digital medium.
Hobby
These gesture drawings and illustrations are part of my personal creative practice, done in my free time to improve my skills and explore ideas.
