Since I was a kid, I’ve always been a hands-on learner. Whether I was constructing Lego castles or building in Minecraft, I’ve always seen the world in blocks. When I open a Logic session, I don’t just hear the music, I see MIDI bricks. Editing album covers in Photoshop? Pixelated mosaics. Building this website? Just more blocks on top of blocks.
For me, creativity has always been about assembling tiny pieces until they become something bigger.
While I’m still new to 3D design, only starting about six months ago, something about it feels deeply familiar. Like I’ve finally found the medium that speaks the language I’ve been thinking in my whole life. I’m excited to see where this adventure leads.
This project was a real challenge from start to finish. It started in Minecraft, my sketchpad made of blocks, where I first laid out the vision. But I knew it couldn’t live there forever. I pushed myself to learn Blender and Unity from scratch, despite constant setbacks like broken rigs, failed exports, warped animations, and bugs I didn’t even have the vocabulary to explain yet.
There were countless moments of frustration, but I kept building, piece by piece, late into the night, refining every detail until the world finally started to feel real. It's a blend of interactive design, sound, and character-based storytelling that reflects the chaos and creativity behind the artistic persona of Bloody Wes.
It features a mix of London and NYC architecture, including the apartment I wrote much of the Bloody Wes album, as well as spots that are similar to where I lived in London.
Special thanks to Dacritter for helping me through the technical walls, I couldn't have done it without his help.
What started as a pixelated map turned into a living, breathing portfolio. And it taught me more than software, it taught me how to finish something even when you have no idea what you are doing at the start.
To
reality.
Bloody Wes Immersive Portfolio
From Vision...
Beat Catalog
3D DESIGN
prod. WOOZALL THE WIZARD & leion van osdol
"You Ain't Over Me"
Slick Naim
Being my first "intentional" score, this piece meant a lot to me in terms of breaking me out of my previous standard of just music production. It showed me the holistic atmosphere not only film can provide, but music as well and really allowed me to experiment with all of my skills in music production. Who knew DJ equipment could be used for a film score?
Film by Ilina Bhatia
October 2022
Screened at Film Diary NYC in 2022.
Scores
My longest and most thought out score yet. Taking nearly a month to create, I took a lot of time to get in the mind of the main character and his feelings of emptiness and what exactly it would sound like. I wanted to create a progressing distance effect between the father and the dead son that the viewer could feel through the music. This score tested my patience with transitions and writers block, as I strictly held the standard of each scene being its own cohesive masterpiece, though it's still far from perfect.
Film by Ilina Bhatia
February 2024
Experimental Winner in Absurd Film Festival 2024
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Inside The Score
Dream was a unique film to score as it expressed a lot of emotions in a short run time. From this film, I created a process I like to call "creative translation". The black and white footage instantly gave me an eerie vibe to work with, and from that, I translated what I saw visually into what I hear audibly. Creative translation can be effective in any medium, and is simply creating something from the influence of any bodily sense.
Film by Valentina Eguiguren Armbruster
November 2022
