My work in 3D has been mostly utilitarian, focused on quick render
speeds, simplified forms, and the specific atmosphere of low-resolution
texture.
These studies connect to the thinking behind The Limit,
where graphical constraint becomes a material rather than a compromise.
I am most interested in the nuance of making simple characters feel
specific, strange, and alive.
Working in Blender has also become a practical foundation for motion
graphics, giving me a faster way to think through timing, lighting,
camera movement, and animation systems.
