Motion & 3D

Interface motion has a different job from a brand film. It has to survive being seen hundreds of times, so it stays short, stays quiet and never asks for attention it has not earned. Everything here is built to loop without becoming irritating.

A set of 3D illustrations for Easypaisa, Pakistan's digital microfinance bank, built to sit in the app and across campaign material as a consistent icon language.

I did the concept, the modelling and the rendering. The problem in an icon set like this is not making one object look good, it is making forty look like they came from the same world. So everything runs on one shared lighting rig and one material library: the same soft studio key, the same shallow depth, the same brand green and copper reading as physical materials rather than flat fills.

The currency motif does the heavy lifting. Coins carry the mark, the crescent and star, the wheat sheaf, so the set stays recognisably Pakistani and recognisably about money without a single line of copy.

Photoreal work for products that need to be seen before they exist, or that photograph badly in a studio. Modelled, textured and lit from scratch, then graded and cut.

The Luméra work is the clearest example. Cosmetic packaging is a hard render: brushed metal, semi-transparent oil, a glitter cap and a soap bubble all in one frame, each with a different reason to break.

Game assets for a children's game. Characters modelled, rigged, textured and animated to run inside the game rather than to look good in a render.

That constraint changes everything upstream. Silhouettes have to read at small sizes on a phone, topology has to stay light enough to animate on a low-end device, and every cycle has to loop cleanly with no visible seam, because a kick or an idle will play thousands of times in a session. Appeal has to survive the polygon budget.

Blender for build and render, After Effects for finish and grade. Where the schedule is tight, generative tools handle boards and background plates so render time stays on the object the client is actually paying for.

The part that matters at senior level is not any single frame. It is that the second delivery looks like the first, and the fortieth still does.