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ANTMAN

CLIENT

Marvel

OVERVIEW

CREDITS

A mix of 2D design and 3D, with most of my work focused on the Celesium consoles. I worked mainly as a 3D artist, while also designing additional elements across the project.

Tyrone Magnusen — Motion Designer

Sam Keehan — Creative Director

Dan Herlihy — Art Director

Ashton Hertz — Lead Producer

Matt Dippenar — 3D Lead

Aaron Stelfox — Motion Designer

Jacob Wrigley — Motion Designer

Pedro Ramos — Motion Designer

Toby Haslam — 3D Modeller

Tyrone Magnusen — Motion Designer

Sam Keehan — Creative Director

Dan Herlihy — Art Director

Ashton Hertz — Lead Producer

Matt Dippenar — 3D Lead

Aaron Stelfox — Motion Designer

Jacob Wrigley — Motion Designer

Pedro Ramos — Motion Designer

Toby Haslam — 3D Modeller

SHOWREEL

Project Overview

Towards the latter stages of the cinematics, the Territory team and I began shifting our focus to the intro load movie. These sequences introduced the main characters and set the tone for the game. With our deconstructed visual style already well established, this was a chance to push it further and have some fun developing fresh assets for the title sequence.

We carried over the same hands-on, tactile approach from earlier stages — creating textures by hand using arts and crafts tools, then scanning them in to build our custom library. Fingerprints, smudges, copier misalignments, scratches, paint splats, and paper grain all made it in. These elements gave the intro that same gritty, grounded aesthetic that tied everything together.

We started with clean, graphic compositions and then broke them down — misaligning elements, adding distortion, layering in wear and imperfections. It gave the UI a sense of weight and history, like it belonged in the world of the game.

The final sequence above is a selection of the work I contributed to — blending 2D and 3D workflows depending on what each moment needed. Below that, there’s a lovely behind-the-scenes video put together by a good friend and colleague at Territory Studio, offering a closer look at the process behind the visuals.

For the Black Ops 6 intro, we built a hand-made visual language from scanned textures, rough type, and layered imperfections.

Celestium Consoles

I had the pleasure of being part of a team that conceptualised, designed, and animated on-screen displays and user interface graphics across 11 sets and 250 shots. My goal was to create an authentic glimpse into the elusive Quantum Realm while staying true to the renowned aesthetic of the Marvel Cinematic Universe.

At the visual climax of the film’s tech language stands Kang’s control room, where we had to design interfaces that felt part of the Quantum Universe while showcasing Kang’s advanced power.
It was a rewarding challenge especially when designing consoles that had to fit the actors’ movements (who, unsurprisingly, didn’t always keep our graphics in mind). It was a great exercise in problem-solving and design instinct.
The tools used here included Cinema 4D, Illustrator, and After Effects.