Senior 3D Generalist and Technical Artist with 10+ years of experience in real-time production, immersive technologies, and interactive content. I specialize in 3D modeling, PBR texturing, lighting, rendering, optimization, and integration in Unreal Engine and Unity. My background includes VR, AR, simulations, architectural visualization, cultural projects, and large-format audiovisual experiences. I combine artistic quality with technical problem-solving to deliver polished and efficient results across the full production pipeline.
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Les Aventures de Coco et Piaf — Interactive VR Learning Experience
Les Aventures de Coco et Piaf is an interactive educational VR experience created for children between the ages of three and eight. The project was developed for VWX Agency, with the Alliance Française de Buenos Aires as the end client, and is based on the illustrated universe of Coco and Piaf, created by a French artist.
I was responsible for the complete development of the interactive experience, including adaptation of the original visual concept into 3D, environment design, modeling, texturing, lighting, animation integration, educational interaction design, gameplay programming, validation systems, audio implementation, optimization, testing, and final deployment using Unity and OpenXR.
The original characters and visual references were provided in 2D by their creator. My role was to translate that established identity into a cohesive real-time 3D world while preserving the expressive, hand-crafted quality of the illustrations.
The adventure begins with a large interactive book titled Les Aventures de Coco et Piaf. As the book opens, a three-dimensional map of France appears across its pages, allowing children to select different destinations and begin a series of educational activities set in recognizable French regions.
Across all five environments, the educational content is supported by music, character animation, spoken phrases, visual feedback, and age-appropriate interaction design. The experience was designed to remain accessible, highly visual, and easy to understand for young children.
The entire application was developed in Unity using OpenXR,
Role: Solo XR Developer & Technical Artist
Agency: VWX
End Client: Alliance Française de Buenos Aires
Original IP and 2D Characters: Created and provided by the original French artist
Project Type: Educational VR Game and Interactive Learning Experience
Target Audience: Children aged 3–8
Technology: Unity 3D and OpenXR
Development Areas: Experience design, educational gameplay design, adaptation of 2D artwork into 3D, environment creation, 3D modeling, texturing, lighting, UI/UX, interaction programming, socket and validation systems, painting mechanics, weather systems, character integration, audio implementation, scene logic, optimization, testing, and standalone deployment
Key Features: Interactive pop-up-book introduction, map-based navigation, five French destinations, counting activities, object sorting, seasonal weather changes, suitcase-packing mechanics, food vocabulary, virtual painting, hidden-animal exploration, visual validation, character reactions, music, and multilingual spoken content
Deliverables: Complete Unity source project, optimized real-time assets, and functional OpenXR application
This project is an end-to-end real-time cinematic and orbital simulation showcasing “ATENEA,” a conceptual Argentine microsatellite mission in Low Earth Orbit (LEO). Designed and executed entirely from scratch in Unreal Engine 5.7, this project explores the intersection of aerospace engineering visualization, real-time lighting, and cinematic storytelling—tracking the vehicle from coastal countdown and atmospheric ascent to payload deployment and zero-gravity orbital maneuvers.
My Role & Technical Execution:
End-to-End Real-Time Pipeline: Responsible for the entire visual and technical production, including scene architecture, lighting setup, camera sequencing, VFX, and post-processing in Unreal Engine 5.7.
Hard-Surface Modeling & Asset Optimization: While the base launch pad structure utilized a commercial asset, I extensively modified, re-modeled, re-UVed, and optimized it in Autodesk 3ds Max to achieve industrial-grade mechanical precision and ensure a clean, high-performance PBR shading workflow.
Advanced PBR Shading & Aerospace Materials: Developed custom shaders to accurately replicate complex space-grade materials, including reflective gold Multi-Layer Insulation (MLI) foil with physical surface wrinkling, polycrystalline solar arrays, brushed aerospace alloys, and thermal shielding.
Volumetric VFX & Atmospheric Lighting: Implemented dynamic procedural volumetric cloudscapes for the rocket’s ascent, accurate Rayleigh atmospheric scattering for the orbital horizon, and high-contrast vacuum lighting simulating harsh solar exposure in deep space.
UI/UX & Telemetry HUD Integration: Designed and animated immersive cockpit UI interfaces, holographic countdown displays, and live flight telemetry to reinforce the scientific accuracy of the mission.
Software Stack: Unreal Engine 5.7 (Lumen, Sequencer, Volumetrics), Autodesk 3ds Max, Substance 3D Painter, Adobe Creative Suite.
A highly detailed steampunk-inspired mechanical spider designed for both cinematic visualization and real-time applications. The project focused on combining Victorian-era industrial aesthetics with believable mechanical engineering, featuring a fully articulated rig for realistic movement and animation. The model was created in Autodesk 3ds Max, including its mechanical rigging system, while materials and weathering details were developed in Substance Painter. Final rendering, lighting, and presentation were produced in Unreal Engine 5.
This mixed reality application was developed for VWX Agency, with La Roche-Posay as the end client, to communicate information related to atopic dermatitis through an immersive, controller-free experience.
I was responsible for the complete development of the application, including experience design, mixed reality UI/UX, hand-tracking implementation, animation, interaction programming, scene logic, video integration, optimization, testing, and final deployment for Meta Quest 3.
The main creative and technical challenge was to transform the user’s own hands into an interactive medical information interface. Using native hand tracking, users could navigate a floating spatial menu through finger gestures without relying on physical controllers.
Role: Solo XR Developer & Technical Artist
Agency: VWX
End Client: La Roche-Posay
Project Type: Mixed Reality Medical Experience
Subject: Atopic Dermatitis
Target Platform: Meta Quest 3
Development Areas: Experience design, mixed reality UI/UX, hand tracking, palm and finger UI anchoring, gesture-based interaction, animation, spatial interface design, automatic trigger systems, scene logic, video integration, testing, performance optimization, and standalone deployment
Key Features: Controller-free gesture interaction, floating spatial menu, palm-anchored UI, individually tracked finger elements, automatic hand-scanning sequence, clinical information panels, integrated patient-story video, passthrough mixed reality, and live event deployment
Deliverables: Complete source project and functional Meta Quest build
A full-length real-time historical cinematic depicting one of the greatest feats in American military history: the 1817 Crossing of the Andes led by General San Martín. Developed entirely from scratch as a solo production, this project is a comprehensive showcase of my capabilities as a Senior 3D Generalist and Art Director, managing every single stage of the real-time CGI pipeline—from initial 3D modeling and environment building to final rendering, editing, and sound design.
My Solo Execution & Technical Breakdown:
Human & Animal 3D Modeling: Built and sculpted custom historical human characters (soldiers, uniforms, gear) and horses/mules from scratch, ensuring optimized rigging and cloth simulation ready for real-time crowd deployment [08:00].
Large-Scale Environment Design & Terrain Sculpting: Designed and generated vast Andean mountain landscapes, dry plains, steep mountain passes, and dense vegetation using custom heightmaps, procedural foliage, and rock scattering [01:08:00 to 01:53:00].
Dynamic Weather & VFX Simulation: Implemented complex real-time environmental VFX, including volumetric night fog at the El Plumerillo camp [14:00], heavy driving snowstorms in the high altitude passes [02:51:00], dynamic wind acting on banners and cloth, and custom fire/smoke systems [03:25:00].
Lighting & Art Direction: Directed the mood and visual storytelling across drastic lighting shifts—from the dark, cold campfire atmospheres of a night camp [20:00] to blinding alpine snow [03:00:00] and the dramatic golden-hour sunrise over the conquered horizon [04:06:00].
Cinematography, Editing & Audio Engineering: Handled all virtual camera choreography (Sequencer), multi-camera editing, historical narrative pacing, color grading, original sound design, and music integration to deliver a production-ready audiovisual piece.
Software Stack: Unreal Engine 5 (Lumen, Nanite, Sequencer, Volumetrics), Autodesk 3ds Max, Substance 3D Painter, Adobe Premiere Pro / DaVinci Resolve, Audio Editing Tools.
During the 2025 Christmas season, I took part as a technical and creative lead within the team of a company commissioned to produce this architectural video mapping project, projected onto the façade of the Palace of the Infantado in Guadalajara, Spain.
Working together with another artist, we developed the 3D scenes and audiovisual content that transformed the building into a large-scale visual narrative. The project combined creative direction, 3D production, animation, lighting, materials, compositing, architectural integration, and technical preparation for projection.
The show was conceived as a journey through several Christmas-inspired worlds. The façade became a magical library, an enchanted forest, a frozen landscape, a toy factory filled with gears and mechanical elements, and a monumental stage for the Three Wise Men. The finale wrapped the entire building as a giant present and concluded with a digital fireworks display.
One of the main challenges was designing every scene specifically around the geometry of the Palace of the Infantado. Arches, balconies, windows, doors, and stone reliefs were treated as active elements of the storytelling, creating illusions of depth, structural transformation, opening walls, moving machinery, ice, vegetation, and architectural change through trompe-l’œil and projection-mapping techniques.
The production also involved several technical responsibilities:
Adapting all content to the real proportions of the façade.
Organising and optimising large-scale 3D scenes.
Integrating lighting, shadows, and materials with the architecture.
Designing transitions and animations in sync with the soundtrack.
Controlling contrast, luminance, and readability for outdoor projection.
Coordinating the creative and technical pipeline through final delivery.
The installation was enhanced by synchronized lighting and water fountains in the square, extending the visual experience beyond the façade and creating a more immersive environment for the audience.
This project was a valuable opportunity to combine my experience as a 3D Artist and Technical Artist with the creative and technical coordination of a large-scale audiovisual production.
Tools and areas:
3D Production · Unreal Engine · Autodesk 3ds Max · Animation · Lighting · Rendering · Architectural Projection · Video Mapping · Motion Graphics · Visual Storytelling · Technical Art · Post-production
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