The newest chapter: machines that write and paint beside me. I came here for the stories; the tools followed, the way tools do when no one else is around to build them.
The newest work: machines that paint and speak, put to work for brands; my own craft and study beneath.
CLIENT WORK · ADSMN INTERACTIVEFour summer films: real footage with the brand's star repainted in, the face kept true frame to frame. Each set shows the plate, the avatar, and the finished film.
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▶ PLAYKwikGPT, a written character: an agent that speaks as the brand, quick and cheeky, carried all the way to three aired films.
Brand characters given steady voices: cloned speech that stays in character, and the dialogue it delivers.
A jewelry house's look, taught to the machine; pieces placed into scenes, images enlarged and extended, delivered inside their learning platform.
A song written to order: custom lyrics, a cloned singing voice, mastered and matched to moving lips.
Children turned into superheroes with their own faces kept true; safety checks throughout, watchful agents reading every image.
Mixed reality taught me that a world does not need to be large to be believed; it needs to be consistent. I was learning to keep small worlds honest before I tried a cosmos.
Two years at AjnaLens. I arrived for 3D and left fluent in the new machines. Strongest work first, then the products, then the craft underneath.
Four machines from the years my 3D work turned into AI work: one turns a rough hand sketch into a usable model, one builds 3D worlds from written words (the seed that later became BuilderVerse), one taught pictures new styles, and one gave a digital human a face, a voice, and something to say.
I taught a model what one headset looks like from every angle, then asked it to paint that headset into any style or scene I named. Every frame below came out of that teaching; none is a photograph.
A complete VR classroom for fitter apprentices, planned frame by frame: how a student signs in, chooses a learning path, picks up a tool, inspects a machine, and finally works with their own hands. All of it drawn before any of it was built.
The front door of a learning platform: the first screen a student meets inside the headset. Planned from rough first pass to final flow, and shown at CES 2023.
V2 · FINALI keep no favourite tools, only favourite pictures. These few came from a model called FLUX.
A worldbuilding series of my own - उरात्म Uratma, the “mighty souls”: beings standing where the mortal and the divine cross. I painted them first on Stable Diffusion 1.5, then came back stronger and painted them again on SDXL as Divergent Speciation.
SD 1.5 · THE ORIGINAL SERIESThe oldest drawer and the deepest: more than three thousand pictures from 2022 and 2023. What sits below is the strongest of it, sorted by theme; the whole archive lives on Drive.
Virtual worlds were my first stages. Some of this work paid rent; all of it taught me what presence costs, and what it is worth.
Virtual stages built for real work: training rooms, showrooms, worlds to stand in.
Worlds you could step into and learn from: a Sanskrit classroom where lips moved with the language, a warehouse that taught you its shelves, a deep-sea rescue, and industrial floors rebuilt in the headset. Built across PupilFirst, E3 and MAGES.
Where the hands learned. Nothing here was glamorous, and all of it was necessary. I keep it the way one keeps first pages: not because they are best, but because they are true.
Where the hands learned: the first models, the first rooms, the first pages.
Where the hands learned: bouncing balls and pendulums, walk cycles and run cycles, a moonwalk for the joy of it, and the first short films. Every craft since stands on these exercises.