AI, 3D, animation and art — creative solutions,
and the teams that scale them.
Creative with 10+ years across tech, gaming and media — Meta, Walmart, Samsung, Accenture and HAVAS. I lead artists, art leads and producers, and I stay hands-on in the work: modelling, animating and art directing alongside the team. I also look for inventive ways to bring AI into tooling and automation, so pipelines run faster and artists spend their time on the craft.
Generative AI art direction
Animation & motion design
3D / real-time (Unreal, Maya)
AI pipelines & automation
Building and mentoring art teams
Quick preview
Two cuts — the current showreel and an animation-only edit. Both run about a minute.
Work I make for myself
A comic for my kids, a game built in Dreams, and a motion audio book.
Legacy
A comic book I started for my kids to read when they are older, centered around them as brothers and our family as super heroes.
Mark of the ViiBE
A game built entirely inside Dreams on PlayStation — design, modelling, animation, audio and logic, all in one toolset. Working within the engine's limits forced decisions I would not have made with a full pipeline available.
Development videos recording my game development.
Skills.
Four overlapping practices. I move between them depending on the brief — most of my best work happens in the seams.
AI Video & 3D Pipelines
Building end-to-end AI pipelines for video and 3D — ComfyUI graphs, diffusion and video models, agentic tooling with Claude Code, Open Claw and custom AI Agents — all stitched into workflows that ship faster and still feel authored.
Creative & Art Direction
Steering brand and campaign work from blank page to final frame — vision, visual systems, and the technical aesthetic direction across 3D look-dev, lighting and pipeline taste. I sit between artists and engineers and translate.
Animation / Motion Graphics
Twenty years of frames — from 2D hand-drawn to 3D animation. Character, design-led, kinetic type, mixed media — pacing is everything.
Leadership & Team Building
Building rooms where artists do their best work — hiring, mentoring, and shaping cross-functional teams that thrive under pressure and ship with conviction.
Six projects,
one throughline.
Each of these started as a problem with no template — a new avatar system, a 3D and generative AI pipeline that didn't exist, a launch across four continents. Art management is the answer, not the brief.
Reimagining
Metaverse Avatars
Leading the creative vision across Hair, Clothing, Fantastical Characters and Emotes for the 2025 Avatar experience.
Art Manager
At Meta, I led the creative vision for reimagining Metaverse Avatars, shaping a unified style across Hair, Clothing and Fantastical Characters.
I collaborated with cross-functional teams to develop inclusive, stylized and delightful digital identities that resonated globally. My work extended beyond art, incorporating strategy, animation and innovation to deliver a cohesive experience across platforms.
Avatar Hair
I led the creative transformation of Avatar Hair, evolving it from the earlier generation to the groundbreaking 2025 Avatar experience. By reimagining hair design, I introduced diverse, lifelike and culturally inclusive styles that set a new standard for digital identity.
Collaborating with engineers, researchers and designers, I developed advanced textures, physics-based simulations and modular systems, ensuring seamless integration and optimization across platforms.
From realistic styles to fantastical creations, this evolution elevated Meta’s Avatars into a vibrant, expressive and highly personalized representation of users worldwide.
Avatar Clothing
I led the transformation of Avatar Clothing, introducing a new level of versatility and creativity to the 2025 Avatar experience.
I implemented internal modularity into art production pipelines, streamlining processes and enabling teams to efficiently create a vast range of customizable designs.
Externally, I brought modularity to the user roadmap, empowering individuals to mix, match and personalize their clothing choices. This enhanced production efficiency and delivered a dynamic, user-driven wardrobe system — a new benchmark for digital fashion and self-expression.
Fantastical Characters
Beyond human likeness, I directed a range of fantastical characters — creatures, mechs and stylized personas — that extended what an avatar could be while staying inside one coherent visual language.
Working from concept art through to real-time assets, I set the silhouette, material and proportion rules that let artists design freely without the cast drifting apart.
The result gave users a way to be read as something other than themselves, without the system fragmenting.
Avatar Emotes Evolution
At Meta, I strategically redefined Avatar Emotes, paving the way for their evolution in the 2025 roadmap.
By building key partnerships across teams and internal collaborators, I spearheaded the prototyping process to showcase the potential of a more dynamic and expressive emote system. Through meticulous planning and compelling presentations, I secured leadership buy-in, aligning cross-functional teams on a shared vision for the future of emotes.
This work enhances user engagement and positions Meta’s Avatars as a platform for rich, personalized and emotionally resonant interactions.
Galaxy launch,
four continents
Creative direction for global campaigns across the Galaxy S9, Note 10 and S10 launches, delivered across Asia and the Middle East.
A new design strategy framework that boosted production efficiency, enhanced quality, and increased client demand by 60%.
Design Manager
As Design Manager at Samsung, I led creative direction for global campaigns, including the Galaxy S9, Note 10, and S10 launches, delivering impactful visuals and motion graphics across Asia and the Middle East. I introduced a new design strategy framework that boosted production efficiency, enhanced quality, and increased client demand by 60%.
Leveraging expertise in 2D, 3D, and AR, I drove innovative, high-performing campaigns that blended creative vision with strategic execution on a global scale.
The role was hands on throughout. Alongside directing the work I designed, animated and finished shots myself, staying in the files rather than only reviewing them.
Advertising
At Samsung, I played a pivotal role in driving the creative direction for social media campaigns, product launches, and large-scale advertisements across the Middle East and Asia.
I contributed to the ideation and execution of engaging public and online ad campaigns, crafting visuals and narratives that resonated with diverse audiences.
I directed live shoots and oversaw the production of TV and cinema commercials, ensuring every detail aligned with the brand's vision and strategy. My work on social media campaigns and product launches combined storytelling with cutting-edge visuals, delivering impactful content that elevated Samsung's presence across key markets.
Global Clients
While at Samsung, I collaborated with high-profile clients such as Virgin, Disney, Netflix, New Balance, Maserati, Nespresso and more, leading ongoing social media campaigns on platforms like Instagram and TikTok.
I crafted engaging promotional content that effectively highlighted offers, sales, and key messaging, helping clients boost revenue and brand awareness.
By blending creative storytelling with strategic execution, I ensured each campaign resonated with target audiences, driving meaningful engagement and measurable results for these global brands.
Building internal 3D and
creative AI pipelines
Building a 3D unit inside a design organisation that had none, and a modular scene system that cut product-visualisation time by 60%.
Modular Workflow
I introduced modularity to a creative team that had been rebuilding every scene from scratch, designing a flexible digital environment where countertops, cabinets, lighting and backgrounds can be swapped or adjusted without touching the rest of the set.
I structured the base environment into six layers — wall, countertop, cabinet, window, lighting and lighting props — and wrote the three-step method the team now works to: add materials and staging, configure from build-a-bear presets, then set the tone from the cool, neutral and warm lighting library I built.
The result: one scene, many outputs, at roughly 10–15 minutes per image excluding render time, covering R1 concepting through R3 final imagery. The template I delivered cut pipeline output time by 60%.
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Working
I built a specialist 3D unit inside a design organisation that had neither a 3D team nor a 3D space — hiring the artists, setting the craft standard, and winning the group a place in a workflow designed entirely around 2D.
I set the team up to produce fully staged product scenes for promo, e-commerce and advertising, and baked consistent camera framing and ADA visual guidelines into the base scene rather than leaving them as a final-pass fix.
The pipeline I put in place lets artists swap assets and render new scenes without starting over, so frequent client updates are absorbed instead of restarting the job.
AI Automation
Designers were losing hours at the concept stage writing and rewriting prompts, then hand-checking that the results matched brand. I built LEXUS, a Python tool that turns brand guidelines and a curation brief into ready-to-run prompts.
The designer drops in the brand guide (PDF, PNG or JPEG) and the curation page, sets camera style and scene type — or leaves them open for more freedom — and generates. The tool returns multiple prompts written specifically for Firefly to read, and can be re-targeted at Gemini or ChatGPT instead.
Because the prompts carry the exact colours and rules from the guidelines, output lands on brand first time. The deeper the brand and creative guides, the better the result.
The effect on the concept stage is the point: designers move from brief to on-brand imagery in a single pass, and spend their time curating rather than prompt-wrangling.
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Event branding, animation
and campaigns
All 2D, 3D and AR motion design across the UK, from stage-scale event identity to social campaigns.
Animation & Video Lead
At Accenture, I managed all 2D, 3D, and AR motion design projects across the UK, delivering innovative and engaging visuals tailored to a variety of industries.
My work focused on leveraging emerging technologies to create future-forward designs, helping clients enhance their brand presence and connect with their audiences through cutting-edge solutions.
Kaleidoscope
I led the creative direction and production of the branding for Kaleidoscope, a premier event featuring renowned industry leaders, including Stephen Fry, discussing the future of technology and AI.
I designed and produced captivating animations and visuals for the event's big stage, crafting a dynamic and immersive experience that embodied the innovative spirit of the event. My work seamlessly blended cutting-edge design with storytelling, elevating the event's impact and showcasing Accenture's leadership in the tech and AI space.
Girls Who Code
For the Girls Who Code campaign, I directed live shoots featuring inspiring women advocating for diversity in the tech industry and encouraging more women to pursue careers in tech.
I spearheaded the creation and execution of a social media campaign across Twitter, Instagram, and LinkedIn, delivering impactful content that amplified the campaign's message.
From motion graphics to video editing and design direction, I ensured every element resonated with the audience, driving awareness and engagement while championing inclusivity in tech.
A new
animation practice
At HAVAS, I contributed to high-impact advertising campaigns, bringing a strategic approach to design and animation for global clients. Collaborating with cross-functional teams, I helped elevate brand identities through compelling visuals and engaging storytelling across multiple platforms.
Senior Creative
At HAVAS, I played a key role in crafting innovative content across a variety of mediums, focusing on apps, animations, and VR experiences tailored for educational purposes.
I was deeply involved in hands-on animation, creating dynamic visuals that simplified complex concepts, and worked on videography projects that combined storytelling with impactful visuals.
My work pushed creative boundaries, delivering immersive solutions that engaged audiences and elevated the agency's creative output.
Design
Alongside the moving-image work I art directed print and digital graphic design across the agency's healthcare accounts — campaign posters, brand identity, congress materials and leave pieces, produced to pharmaceutical print standards.
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Building the unit
I established and led the development of a dedicated animation business unit within HAVAS, introducing 3D design into the video production pipeline for the first time. This evolution allowed the agency to deliver more sophisticated and visually compelling content to clients. I also created the Moving Image team, a specialized group focused on producing high-quality animations and video content.
To further enhance operations, I developed the Green Light System, a business model that streamlined workflows, optimized client collaboration, and drove increased revenue by offering clear and scalable solutions for video and animation projects. This initiative not only expanded HAVAS's capabilities but also positioned it as a leader in innovative visual content.
Creative
decisions, measured
Two write-ups on using behavioural and performance data to steer design work — and what it moved.
Leveraging data markers to enhance Meta's Avatar strategy
At Meta, I played a pivotal role in defining the visual direction and user experience for Meta Avatars, particularly in Hair, Clothing and Fantastical (Non-Human Avatars) for Meta's new Avatars.
A key challenge was optimizing creative decisions to align with business goals, ensuring higher engagement, increased adoption, and monetization opportunities. To achieve this, I implemented a data-driven strategy, leveraging insights from user behavior, engagement metrics, and market trends.
Low engagement and retention
Initial adoption of Meta Avatars showed that only 12% of new users customized their avatars beyond basic options.
Monetization challenges
Sales of premium customization items, including hair, clothing, and accessories, underperformed, missing revenue projections by 18% in Q2 2023.
Lack of data-backed decision making
Creative choices were being made based on artistic intuition rather than user data, leading to mismatched preferences.
To address these issues, I introduced a structured approach using data markers to refine design choices and drive business growth.
Heatmap and engagement analysis
Partnered with Data Science and Research teams to track where users spent the most time in the avatar customization flow. Users spent 63% of their time customizing hair and facial features but only 17% on accessories. Prioritizing those high-impact categories led to a 30% increase in customization session completion.
A/B testing for customization elements
Implemented A/B tests across 100,000+ users to compare different styles of premium avatar assets. Hyper-realistic and stylized hair textures performed 3.2x better than generic, flat styles. That insight guided the introduction of 10 new premium hairstyles, contributing to a 22% increase in digital asset purchases.
Predictive modeling for monetization
Introduced a tiered pricing strategy based on user spending behavior. Users who had customized their avatars more than 5 times were 76% more likely to make a purchase. On that basis we launched a bundled customization pack, increasing average revenue per user by 14% in Q3 2023.
Personalization via AI and behavioral data
Collaborated with the AI/ML team to create recommended customization sets based on user preferences. Users who engaged with personalized recommendations showed a 41% increase in avatar customization completion rates.
Data markers enabled smarter design decisions, aligning creative efforts with business objectives.
Understanding user behavior helped prioritize high-impact features, leading to higher engagement.
Personalization using AI resulted in a significant lift in monetization and retention.
Data-driven creative strategy at Samsung
At Samsung, I played a pivotal role in developing and executing creative campaigns for flagship mobile devices, including the Galaxy S9, S9+, Note 9, Note 10, and S10 series. My focus was on improving engagement, increasing conversion rates, and streamlining creative execution for key global markets, particularly Asia and the Middle East.
By leveraging data insights and performance markers, I optimized creative content, improved campaign efficiency, and directly contributed to higher user engagement and increased pre-order sales.
Content saturation
Samsung's frequent product launches and marketing push led to diminishing ad engagement rates, particularly in highly competitive regions.
Low market-specific performance
Engagement and conversion rates in Asia and the Middle East were underperforming by 15% compared to expectations.
Inefficient creative execution
The creative production pipeline was slow and reactive, making it difficult to adapt content based on performance data in real time.
Content performance refinement
Analyzed engagement data and found that motion-driven content performed 47% better than static ads. Introduced shorter, high-impact animations, increasing CTR by 32%.
A/B testing and localization
Tested global vs. market-specific creatives across 12 regions. Localized content boosted engagement by 23%, leading to a structured regional adaptation framework.
Prioritizing high-impact assets
Identified product demo videos as 2.5x more engaging than standard ad creatives. Shifted focus to interactive walkthroughs, increasing pre-order conversions by 17% in APAC.
Streamlined creative execution
Reduced unnecessary asset variations and improved review workflows, cutting production turnaround times by 35%.
| Metric | Improvement |
|---|---|
| Global ad engagement | +28% |
| Pre-order conversions (Galaxy S10+) | +17% in APAC |
| CTR on video ads | +32% |
| Localized campaign engagement | +23% |
| Creative production efficiency | +35% |
Data-driven creative decisions led to higher engagement and improved campaign performance.
Localized content strategies significantly increased audience connection in Asia and the Middle East.
Streamlined workflows ensured faster creative execution and higher efficiency.
Gratitude is my
biggest tool
I am a proud husband and father of two boys, and the time I spend with my family is where I find the most meaning. Outside of work you will usually find me outdoors — in nature, travelling, or training.
Gratitude sits at the centre of how I live: being thankful for everything I have keeps me steady and keeps the work honest. My inspiration comes from my family and from my own experiences rather than from trends.
Emotion is what drives great work. If someone feels something after seeing what I have made, the work has done its job — that is the model I build everything on.
Creativity is intelligence
having fun
A visionary and highly accomplished 3D, AI, and animation leader with extensive experience in creative direction and immersive design. Builds and scales high-performing teams, delivering photorealistic visuals and cutting-edge AR/VR experiences at global organizations. Develops innovative pipelines integrating AI-driven tools to accelerate production and reduce costs. Partners with executive stakeholders to align creative strategy with business goals across digital advertising and e-commerce. Drives measurable results through cross-functional collaboration, motion graphics, and UI/UX design.
Grow multidisciplinary, diverse teams and mentor the leads inside them.
Manage art pipelines and land projects on tight deadlines.
Partner with Product, Engineering, Design and Marketing from day one.
Solve by prototyping — brainstorm, build, show, revise.
Alexander Bedminster
April 2025 — present
— Spearheaded an in-house 3D pipeline, replacing external vendors with modular systems for photorealistic product visuals at lower cost.
— Built and led a specialist 3D team producing fully staged product scenes for promo, e-commerce and advertising.
— Integrated AI tooling into 2D and 3D workflows, cutting turnaround times.
— Kept Walmart at the front of AI-driven design adoption.
January 2022 — December 2024
— Led, managed and mentored a multidisciplinary team of artists, art leads and producers.
— Directed high-quality art and animation for a seamless, intuitive user experience.
— Accelerated motion-asset delivery by 35%, enabling 11 product teams to ship 60 high-priority projects early — an iRev win of 0.14% ($75M/year).
— Developed 3D pipelines for avatar projects: storyboarding, prototyping and visual direction for VR.
— Acted as strategic partner to stakeholders and executive leadership on prioritisation, resourcing and budget.
— Presented creative vision to executive leadership and championed team needs.
October 2019 — December 2021
— Independently managed 2D, 3D and AR projects, delivering VR and AR solutions for clients worldwide.
— Led cross-functional teams from concept to execution across motion, digital and experiential design.
March 2018 — June 2019
— Led creative executions for the S9, S9+, Note 9 and 10 and S10 campaigns across Asia and the Middle East.
— Created a design strategy that raised production speed and quality, increasing client demand for animation by 60%.
— Produced and delivered all animation and motion graphics for TV, retail, cinema and online.
April 2014 — February 2018
— Recruited and mentored a multidisciplinary design team and launched a new business unit for animation services.
— Developed a profitable three-tier design service model, set design best practice, and won new business through client presentations.
July 2011 — April 2014
— Led 20+ designers and developers across Europe through the shift from desktop to mobile gaming.
— Oversaw artistic direction for games, platforms and international campaigns.