Creative & Visual Direction · Generative AI × Games

Art Direction for the AI era.

Years spent pointing games toward a feeling before the tools existed to reach it. Now the tool is generative. The job hasn't changed: hold the vision, break the model until it surprises you, and ship the idea that makes a player stop scrolling.

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INTUITION FIRST, STRUCTURE SECOND ✦ ITERATION IS THE DISCOVERY, NOT THE CLEANUP ✦ BRAVE OVER SAFE ✦ THE MODEL PROPOSES, THE DIRECTOR DECIDES ✦ TASTE IS THE ONE THING A MODEL CAN'T GENERATE ✦ SHIP THE VERSION THAT SURPRISED YOU ✦

Working philosophy

Four things I don't compromise on

Generative tools changed the pipeline. They didn't change what makes direction good.

Courage over consensus

When anyone can generate anything, the real risk isn't a wrong idea. It's an ordinary one. My job is picking the version that makes the room go quiet, not the one that plays it safe.

Iteration is discovery

A generative pipeline isn't a shortcut to the final frame. It's a thousand rough ones, and the discipline to recognize the one that wasn't the plan.

Intuition, then structure

I start from feel (mood, silhouette, light), and only then build the prompts, constraints, and systems that let a model reach for it on demand.

Taste is the moat

Anyone can generate. Direction is knowing, instantly, which output belongs in your world, and which one is just noise wearing your palette.

Selected work

Creative Direction that makes the art direction better.

Three systems built at the creative direction level, so everything downstream (key art, animation, the whole world) is easier to art direct well.

Player researchGenerative agents

Persona Systems

A set of persona-driven agents built to think and react like our players, used to pressure-test every key visual against the audience it's actually made for, before it ships.

Production pipelineMulti-asset

The Creative Console

A console that reads a game's design bible and steps through its own production process (key art, 3D, animation, marketing), generating on-brief content across formats with a director still on every decision.

TransmediaMulti-format

Transmedia Engine

A system that turns one game's world into podcasts, spoken stories, serialized dramas, comics and short-form video: the same characters, rewritten from scratch for whatever format someone's actually going to watch, hear or read.

How the work happens

Six stages, in order, every time

01
Understand the audience

Empathy first, then AI: deep research on who we're building for, solid enough for the whole team to trust.
02
Reference & feel

Gather the emotional target before touching a model.
03
Break the model

Push the generative system past its defaults until it surprises.
04
Curate, don't cherry-pick

Build the taste-filter that scales past one director.
05
Direct the system

Turn the best output into rules the pipeline keeps.
06
Ship & watch

The ideas live in the game, not the deck.

Background

Thirty-two years, one throughline

Thirty-two years across two disciplines, one eye. Formal training at two art schools came first, then seven years working as an illustrator, represented by agencies in London, New York and Tokyo — commissioned work built entirely by hand, long before any of it touched a games console. Twenty-five years ago that same eye moved into art direction inside the games industry, and it never left: leading visual direction at King on Candy Crush Saga, running the art discipline across more than twenty titles as Head of Art at The Multiplayer Group, and shaping visual worlds at Lockwood Publishing, Nordeus, Mediatonic, NaturalMotion and Codemasters, alongside licensed brands including Formula 1, MotoGP, Star Wars and the Wizarding World — work that has, between it, touched billion-dollar games and IP. Recently that same instinct has turned toward generative AI: building the creative workflows, systems and pipelines that let a small team explore, iterate and ship at a pace that used to need ten times the headcount. Other Matters is where that thinking lives now — three decades of trained hand and trained eye, aimed at the newest tool either has ever been given.

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