Modeled, textured, and lit in Autodesk Maya as part of my Polymesa coursework. The brief was to push polygon complexity and dramatic single-light staging.

The form

Started with reference of fairytale carriages — the pumpkin shape gives organic ribbing, the wheels give mechanical contrast. I leaned into that contrast and kept the surfaces soft on the body, sharper on the metal.

The render

Single-light staging keeps the scene cinematic. The light’s behind and slightly above, so the curves catch the rim and the shadows fall into the body.

An editorial typography exercise. The brief: take a small body of text and treat it like a magazine spread. The goal isn’t decoration — it’s making the page legible, paced, and confident.

The system

One serif for the body, one sans for the captions. A vertical baseline grid. Repetition where it earns its place, contrast where it serves the reader.

What I learned

Typography rewards patience. The first version is always too loud — the third version usually whispers. Detailed write-up coming.

This was an environment piece — pushing past single-object modeling into a small narrative scene. I wanted the lighting to do most of the storytelling: dusk, low fire, the tent glowing from inside.

The props

Tent, fire pit, scattered camping gear. Each piece modeled cleanly, then dressed into the scene with weathering and small details that suggest someone has actually been here.

The light

Two-source lighting: warm fire at ground level, cool ambient sky bouncing in. The fire does the work, the sky keeps the scene readable.

The brief I set myself: build a portfolio that doesn’t look like a portfolio template. Type-led layouts, big hero titles, one red accent, hand-coded CSS over drag-and-drop blocks.

The process

Started with paper mockups, then wireframes in Figma, then straight to code. The site went through three rounds of cutting — the first version had ten menu items, the final has six. Editing is the design.

What it taught me

Constraint is a feature. Every decision was easier once I stopped letting myself add things.

The brief

Our team was given the task of designing an interactive promotion and purchase platform specifically built for hotels. The loyalty system needed to be engaging and encourage real client involvement — not the dull “earn points, see number” version most hotels ship.

Research → BOVA

We anchored our visual research on BOVA’s branding system: Poppins as the type, considered button styles, an interactive carousel pattern, and a refined colour palette. The goal was to feel premium without feeling stiff.

Sketches and wireframes

From sketches we worked into low-fidelity wireframes for two distinct audiences. The member home (a Join → Earn → Redeem flow with a tier carousel). And the hotelier dashboard — a customizer with rewards, levels, analytics, and add-reward controls.

High fidelity

The member home presents the tiers as glassy gradient cards — Silver, Gold, Platinum — with the perks list and a clear Learn More call. The hotelier dashboard reveals the engine: Tiers / Rewards / Analytics nav, key stats at a glance (Members, Bookings, Repeat-Customer rate), a recent-members table, and a built-in customizer for swapping rewards.

Built in HTML/CSS

The final deliverable wasn’t just mock-ups — we coded the system in HTML and CSS. Carousels, hovers, transitions, the lot. The brief said “interactive,” so we made it actually interactive.

The brief

Design and build a 3D game with at least two playable levels. A class assignment that turned into one of my favourite Year 3 projects — I’d never built a real game before, and I wanted it to feel like something worth showing.

Built in Unity

Modelled the environment, brought in zombie assets, wrote the gameplay scripts in C#, and tuned the difficulty curve until level 2 felt genuinely scary. Unity makes a lot of game-design ideas reachable in a semester — but every “easy” feature still asks you a hundred small questions.

The setup

You play a robot stranded on a seat in deep space. Zombies appear from outside the safe zone and head straight for you. There’s no escape — only defence. Survive long enough and you move to the second level, which gets faster, denser, and meaner.

What I learned

Game design forces you to think about something portfolio work usually skips — feedback loops. Every animation, sound, and visual cue exists to tell the player what’s happening. I spent more time tweaking timing than modelling. That’s the lesson.