Building game-ready hard-surface assets end to end, solo, from reference to final presentation render.

Selected work:

- Curiosity-inspired Mars rover — hero game-ready vehicle. High-to-low poly workflow in Blender, baked in Marmoset Toolbag with skew correction for normal map accuracy on panel detail, textured in Substance 3D Painter with a PBR workflow, rendered and post-processed in Blender. Built to consistent texel density with clean topology and efficient UV packing for engine integration.

- Radio station asset — clean topology, optimised geometry and efficient texture usage, holding solid visual quality at both close and medium viewing distances.

- Environment and scene practice — indoor/outdoor sets and landscape assembly.

Standards I hold myself to: consistent texel density across an asset, no wasted UV space, bakes checked before texturing rather than after, and naming conventions someone else could pick up.

Full breakdowns and turntables: https://www.artstation.com/oleh_harasymchuk

Open to 3D Artist roles and freelance asset batches.

Modelled and reworked 3D-printable figurines for production, adapting supplied designs so engineering components could be integrated without breaking the silhouette.

What the role involved:

- Rebuilt and modified models in Blender to meet printability requirements — watertight geometry, wall thickness, no non-manifold edges.

- Adapted designs around physical hardware: cavities, mounting points and tolerances for electronic and mechanical components.

- Prepared and exported production-ready files, then iterated until parts fit.

- Worked hybrid alongside the engineering side, which meant taking non-artist technical feedback and translating it into geometry decisions.