I’m a Canadian kid who never stopped sketching and somehow turned that habit into a career creating worlds for animation. I cut my teeth as a background-painter and layout artist on TV and feature projects around Toronto, eventually stepping into art-direction seats when production schedules needed a steady hand. Sharing the craft soon felt as important as practising it, so I moved into the classroom and now teach digital painting and 3D workflows at the college level.

Lately my creative curiosity revolves around virtual-reality tools like Gravity Sketch. For my Master’s research I ran a nine-participant study that placed artists inside their concepts, measuring whether VR could speed up pre-production without compromising quality. The findings confirmed what I had suspected: when artists can inhabit their ideas, iteration becomes faster, feedback sharper, and the work more playful.

Today I split my time three ways: visual-development gigs (background paint, layout, asset design in both 2D and 3D); production consulting that helps studios weave VR into lean pipelines; and bespoke workshops that translate real-world studio practice into classroom clarity.

If you have a project, a class idea, or just want to swap notes on VR pipelines and paint strokes, drop me a line—my inbox is always open. Scroll on to see a curated slice of recent work