How Art Works Here

We’re an engineering studio first. We’re straight about that, because it determines how we approach art and it’s the reason our model looks different from a dedicated art house.

We own the art direction, the pipeline and the integration. Style definition, reference boards, specification, review, and getting every asset working correctly in the engine: That’s ours, and we’re accountable for it.

Production runs through a network of specialist freelancers. We work with a wide range of artists: character, environment, concept, UI, animation… Most of whom we’ve worked with repeatedly across multiple projects. When your project needs a hand-painted stylized look, we bring in someone whose portfolio is hand-painted stylized work. Not someone who can do it.

You deal with us. One contract, one point of accountability, one person to call when something’s late.

Why a Network Rather Than a Roster

A studio with 130 artists on payroll has to keep 130 artists busy. That’s not cynicism, it’s arithmetic, and it means the artist assigned to your project is frequently the one who was free rather than the one whose work looks like what you asked for.

Our model has the opposite bias. We’re not carrying anyone’s salary, so there’s no incentive to fit your project to our available capacity. We match to style and scale to scope; three artists this month, one next month, none the month after, without anybody padding the timeline.

The honest tradeoff: we’re not the right choice for a hundred-asset AAA environment pass on a compressed schedule. A dedicated art studio with capacity on the bench will beat us on that, and we’ll say so.

What We Produce

Concept art: style exploration, characters, environments, props, and the reference material the rest of production works from.
Characters: 2D and 3D, from stylized casual through to more detailed work, rigged and animated.
Environments: levels, backgrounds, props, modular kits built for reuse rather than one-offs.
2D and 3D assets: models, textures, sprites, and the animation that goes with them.
UI and UX: interface design that survives contact with real screen sizes, including the small and old ones.

“Game-Ready” Is a Technical Claim, Not a Marketing One

This is where being an engineering studio actually helps you.

We’ve spent years receiving art from other people and making it work in a build, so we know exactly what causes trouble: models that ignore the poly budget, textures that blow the memory ceiling on mid-range Android, rigs that don’t match the animation controller, UI authored at one resolution and broken at every other, and naming conventions that make an asset library unmaintainable by month four.

So assets leave here to a spec: your poly budget, your texture sizes and compression format, your target platform’s actual constraints, correct LODs, engine-ready prefabs, consistent naming, and source files included. Delivered into your Unity project working, not delivered as a folder for your engineers to fix.

For browser builds and mobile titles this matters more than it does anywhere else, because there the art budget and the download size are the same conversation.

Where This Fits Best

Art inside a full-cycle project. This is the majority of our art work and where the model is strongest: Art produced alongside the code by a team that knows what the game needs, with no vendor handoff in the middle. See full-cycle game development.

Art for a project we’re already engineering. Same benefit, applied to co-development.

Focused, well-specified asset packages. A defined list at a defined price. UI sets, prop libraries, character sets, environment kits.

Educational and simulation visuals, where accuracy matters more than spectacle and the subject expert is part of the review loop as with the 3D work in our digital citizenship game and our educational simulations.

Where we’re not the right call: art-only outsourcing at volume, AAA-fidelity environment or cinematic work, or a large asset pass on a tight schedule. Ask us and we’ll tell you plainly, and where we can, point you at someone better suited. We’d rather lose the brief than deliver something we’re not proud of.

Tools

Blender, Maya, 3DS Max and ZBrush for 3D. Substance Designer, Photoshop and Illustrator for texturing and 2D. Everything delivered into Unity.

Common Questions

Can we hire artists through you without the development?

Yes, for defined asset packages. We’ll scope it, direct it, review it and deliver it engine-ready.

Who owns the artwork?

You do, with source files, on final payment. Our freelancers work under agreements that assign rights through to you — no ambiguity, no artist retaining a claim on your assets.

Can you match an existing art style?

Usually, and this is where the network model earns its keep: we find the artist whose existing work is closest to your target rather than asking a generalist to approximate it. Send reference and we’ll come back with candidate portfolios before you commit to anything.

Start a Project

Send us reference images, an asset list, or the game you’re building. We’ll come back with a scope, artist proposals where relevant, and a fixed quote within two business days!