Draftsman. Project manager. Detail-obsessed by trade.

I've spent twenty years working in three dimensions, and the definition of that work keeps expanding. Architects, artists, interior designers, and subcontractors like millwork shops have all called on the same core skill: figuring out how a design actually gets built, then producing the drawings or models that make it possible.

That's taken a lot of different forms. I've built detailed structural drawings for building-approval submissions and worked directly with engineers to specify structural sections and welds for their sealed drawings. I've engineered and detailed a wide range of architectural components — shower enclosures, medicine cabinets and vanities, entry doors, building entry facades, fireplaces, kitchens, and staircases — along with furniture, specialty light fixtures, elevator enclosures, column covers, window surrounds, exterior gates, and rooftop guardrails.

On the software side, that shows up as comfort moving between rigorous parametric CAD — Onshape, Rhino, SolidWorks, AutoCAD — and expressive digital sculpting in ZBrush and Blender, using whichever tool actually fits the geometry in front of me. I'm also familiar with the laser scanning workflow: capturing large point-cloud datasets and translating them into modeled, buildable deliverables. Twenty years across metalwork, structural steel, millwork, and product-scale design means I rarely see a genuinely new problem — just a new material or client with a shape I've likely had to figure out once before.