SOMETHING WORTH BUILDING
Before a character is costumed, sculpted, applied or rigged, the relevant departments need to be aligned around the same direction.
And it begins with an idea worth building.
I am a concept designer and visual development consultant for film and television. I work with directors, producers and creative leads during pre-production to develop original characters for new and existing IPs and turn early drafts into a clear, character-led visual direction.
Whether the starting point is a script, a loose sketch or a blank page, I help define the character and establish the visual foundation the relevant departments can build from. This gives the teams shaping the character—costume, makeup, prosthetics, art and VFX—one coherent identity to work from, rather than a series of separate decisions that become expensive to reconcile later.
The result is a distinctive character direction capable of strengthening the pitch, guiding production decisions and remaining with the audience.
IN THE BUSINESS OF IDEAS
I generate ideas fast, and a lot of them — exploring different routes within a project's vision, rather than minor variations on the same answer, then editing down until I find the central idea that makes every element belong to the same character
That gives directors and producers something meaningful to compare, challenge and build on.
For me, design begins with motive, not surface. Before I decide what the protagonist looks like, I want to understand what drives them. Once the psychology is clear, costume, makeup, materials and silhouette can start telling the truth about who they are — which is what keeps a production from becoming a collection of pretty pictures without a coherent inner logic.
PRODUCTION KNOWLEDGE,
BUILT IN
My design decisions are informed by having worked inside the departments that turn 2D ideas into 3D reality.
I began as a trainee leatherworker on Thor: The Dark World, then moved into costume making and supervision — including work at FBFX — before expanding into Makeup FX at Coulier Creatures. I later switched to being a full time concept designer, bringing that practical understanding with me.
That experience taught me to consider the performer, the workshop and the camera while the design is still fluid. How long might an actor spend in the makeup chair? Where could armour or strapping restrict movement? Which details will actually register on screen? Where will additional complexity create genuine value?
I understand how costume FX, makeup FX, prosthetics and creatures intersect, and I use that knowledge to make stronger creative decisions, identify potential conflicts early and give department heads a more coherent foundation to build from.
Over the years, my work has contributed to productions including Star Wars: Andor, Poor Things, Maleficent: Mistress of Evil, Star Trek: Discovery, Justice League and 007: Spectre, for studios including Lucasfilm, Disney, Marvel, DC and Universal.
ORIGINAL IP | EMPIRE VERTIGO
Alongside my work for film and television, I have developed and managed my own original IP.
Empire Vertigo® is a true story of power and transformation through High Magick, created, written and illustrated by me.
I built the project from the ground up, bringing my skills in character design, visual development and production management together within a single world — from blank page to finished experience.
HAVE A SCRIPT?
A character, a creature—or a blank page? I can help you find the idea worth building.