About
I work across 3D, real-time, motion, interactive experiences and physical production — usually on projects where those disciplines need to work together.
For more than 15 years, my work has moved between digital content, real-time environments, VFX, interactive systems, fabrication and production.
I’m usually most useful on projects that don’t fit neatly inside a single discipline.
01 / Profile
My background started primarily in 3D production: modeling, rendering, animation, environments and VFX.
Over time, the work expanded.
3D became motion graphics and compositing. Visualization became real-time environments. Real-time environments became interactive installations, museum experiences and immersive media. Digital models became CNC toolpaths, 3D prints, molds and physical products.
More recently, my work has increasingly involved complete experiences rather than individual assets: combining visual design, interaction, technology and production planning into something that has to work for an actual audience.
That progression is probably the best explanation for why my skillset looks unusually broad.
I’ve worked as an individual artist, freelancer, production lead, mentor and client-facing problem solver. I’m comfortable producing the work myself, but also defining workflows, estimating production, reviewing other contributors, coordinating suppliers and turning incomplete briefs into something that can actually be delivered.
02
3D modeling, environments, rendering, animation, rigging, lighting and real-time scene production.
My work spans traditional rendered pipelines and real-time environments, primarily using tools such as 3ds Max, Unreal Engine and Unity alongside specialist tools as required.
I’m comfortable moving between asset creation and complete scene production rather than treating them as completely separate disciplines.
AUDIENCE-CENTRED UX / INTERACTION DESIGN
Touchscreen applications, museum interactives, kiosks, immersive spaces, projection environments, multi-screen installations and public-facing digital experiences.
For me, interaction design starts with the audience rather than the interface.
A museum visitor, a child, a Gen-Z event audience and a professional using a specialist application do not behave the same way. They have different expectations, attention spans, visual literacy and familiarity with interface conventions.
That affects pacing, information density, button design, feedback, animation duration, navigation and how quickly an experience has to communicate what the user should do next.
One of the strongest parts of my background is the ability to work on both sides of the digital and physical production process.
I’m comfortable designing something on screen, but I’m equally comfortable thinking about how it will be fabricated, assembled, installed and experienced in the real world.
That can mean combining projection or real-time visuals with physical scenery, designing custom components for an interactive installation, producing 3D-printed parts, machining components with CNC, creating molds and cast pieces, or modifying a physical object so that digital content becomes part of the experience rather than something simply displayed next to it.
A touchscreen experience does not have to end at the edge of the monitor.
A projection can respond to physical geometry.
A digital exhibit can use custom fabricated controls.
A real-time environment can be designed together with the space, props, lighting and physical interfaces around it.
The interesting part is often where the digital and physical stop being separate things.
FABRICATION · 3D PRINTING · CNC · MOLDS & CASTING · PROTOTYPING · PROJECTION · INSTALLATION
Particle systems, procedural animation, destruction, rigid-body dynamics, fluids, smoke, fire and simulation-driven visual effects.
Over the years I’ve worked with systems including thinkingParticles, RealFlow, FumeFX, Phoenix and tyFlow.
I use simulation both for physically driven effects and for more abstract motion-design work.
I’m particularly comfortable with node- and rule-based approaches where complex results emerge from systems instead of being animated manually one element at a time.
Motion graphics, compositing, camera tracking, matchmove, 3D/VFX integration, editing and content for events, campaigns and large-format displays.
Motion also affects how I think about interaction. Timing, cuts, visual hierarchy and attention all influence whether someone actually engages with what is on screen.
Human and object scanning, photogrammetry capture, scan cleanup, retopology, texture reconstruction and preparation of captured assets for rendering and real-time environments.
I’m particularly interested in workflows that move information between physical and digital spaces.
In Unreal Engine I use procedural systems and PCG to generate, distribute and control environment elements, build repeatable world-building rules, create variation and explore procedural approaches to visual effects and motion.
I’m interested in procedural generation when it solves a production problem: reducing repetitive work, accelerating iteration or allowing an environment or effect to respond consistently to design rules.
I’m particularly interested in workflows combining PCG, Niagara, traditional 3D production and real-time environments.
My interest in games goes beyond producing assets. In personal game-development work I design mechanics, interaction loops, player feedback, progression, characters and systems around engagement.
Years of running tabletop RPGs as a Game Master have also shaped how I think about narrative, worldbuilding and player agency.
You can build a world and an intended story, but players will still do something you never predicted. That is useful interaction-design training: the audience is not an actor following your script, so you have to design for what they might actually do.
Concept development, visual direction, production planning, workflow design, estimation, client communication, team coordination, mentoring and final delivery.
I’m often most useful when the brief does not already contain the solution.
I can move from research and concept development into choosing a workflow, prototyping it, producing the work, coordinating contributors and solving the problems that appear between the original idea and final delivery.
03
What is the audience supposed to see, understand, feel or do?
Choose the medium, workflow and production approach.
Prototype the important assumptions, then build the production pipeline around what works.
Test, solve problems, respond to feedback and make practical compromises without losing the intent.
The project eventually has to leave the workstation.
That might mean a final render, an Unreal build, a touchscreen application, a two-hour event visual, a projection installation or a physical object.
That final step matters to me.
04 / Independent practice
Plokamy Studios is my independent studio for client work, original projects and R&D across 3D, real-time, interactive and physical/digital production.
It provides a separate home for commercial collaborations and studio-led work, while also giving me room to develop ideas that move across disciplines and media.
05 / Independent product business
My interest in tabletop gaming and making physical things eventually became Realm of Still, an independent range of products for miniature wargaming.
I designed products digitally, developed production methods, created molds, cast and finished pieces, prepared packaging and handled small-batch manufacturing and sales.
It became a practical education in something very different from creating an image on a screen: designing objects that had to be manufactured repeatedly, survive production constraints, look good as physical products and make commercial sense.
It is also one of the clearest examples of how my digital and physical interests overlap.
What started with 3D design ended with real objects being manufactured, packaged and sold.
06
D&D
Role: GM
Primary skill: preparing an entire world, political situation and carefully constructed narrative only for the players to become emotionally invested in an NPC I invented thirty seconds ago.
Being a GM is also where a lot of my interest in worldbuilding, character development, systems and interactive storytelling comes from.
MUSIC
Heavy music has been a fairly permanent part of the background noise while I work, build things or spend several hours solving a problem that was supposed to take twenty minutes.
Genre arguments are available on request, but probably not productive.
STRATEGY GAMES
Civilization has consumed enough hours of my life to qualify as a long-term relationship.
I’m particularly drawn to games built around interconnected systems, long-term decisions and the dangerous idea of:
'Just one more turn.'
WARGAMING
I’m also a Warhammer and tabletop-wargaming nerd.
Not only the games and worlds, but the entire ecosystem around them: miniatures, terrain, painting, modeling, conversions, scenery and the physical craft of building a tabletop world.
It is one of those hobbies where several interests collide naturally:
worldbuilding + game systems + 3D + fabrication + painting + storytelling.
That obsession eventually escaped the hobby desk entirely and became Realm of Still.
SCI-FI
STARGATE.
This is not a negotiation.
HISTORY
A recurring obsession.
Part research interest, part world-building fuel and part excuse to spend several hours investigating something completely unrelated to the original question.
History becomes much more interesting when you stop treating it as a sequence of dates and start looking at the people, technology, economics, politics and bad decisions that produced those events.
MAKER
I genuinely like making things with my hands.
Modeling something digitally is satisfying.
Watching it appear on a printer, machining it, making a mold, casting it, assembling it and eventually holding the finished object is something else entirely.
If something can be modeled, printed, machined, cast, painted, assembled, scanned, rebuilt or unnecessarily improved, I will probably eventually try it.
TECHNOLOGY
I’m interested in technology when it becomes a tool rather than the subject.
The question that usually interests me isn't:
'What can this software do?'
It is:
'What can I build with it?'
07
08
Athens, Greece
Worldwide
Europe
