Building Worlds That Matter

We started because someone told us creating believable 3D game environments took too long. That sounded like a challenge worth accepting.

Crafting digital spaces since 2019

How We Got Here

Back in 2019, a small group of us were sitting in a cramped studio in Bilbao, frustrated with how disconnected level design education felt from actual game production. The courses we'd taken taught theory but skipped the messy reality of iteration, pipeline constraints, and creative problem-solving under pressure.

So we built something different. Not another lecture series about topology and poly counts, but a hands-on program where students work on real scenarios. The kind where you have to balance artistic vision with performance budgets, client feedback with your own instincts.

We believe the best way to learn 3D environment design is by actually doing it, making mistakes, and figuring out solutions that work in production.

Students collaborating on 3D environment design project in our Bilbao studio workspace

What Drives Our Approach

These aren't corporate values we printed on a poster. They're the principles that shape how we teach and why students keep coming back to work with us.

Real Production Experience

Every instructor has shipped games. Not demos or personal projects, but commercial titles that players actually bought. That experience shows up in how we structure assignments and critique work.

Iteration Over Perfection

First drafts are always rough. We teach students to embrace revision cycles, gather feedback early, and refine their work through multiple passes. That's how professional environments actually get made.

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Tool Agnostic Mindset

Software changes constantly. We focus on fundamental spatial design, lighting theory, and optimization thinking that applies whether you're working in Unreal, Unity, or whatever comes next.

Portfolio That Speaks

Studios hire based on what they see in your portfolio. We help students build work that demonstrates problem-solving skills, technical understanding, and artistic sensibility that actually matters to employers.

Teaching Philosophy

We don't follow a rigid curriculum that stays the same year after year. Game development changes too quickly for that. Instead, we adapt our programs based on what studios are actually looking for right now.

Our Method

Start with fundamentals of spatial design, composition, and player psychology before touching any software.

Build technical skills through project-based work where every assignment mirrors real production scenarios.

Regular critique sessions where we analyze both student work and shipped games to understand what works and why.

Portfolio development throughout the program, not tacked on at the end, so graduates leave with work they're proud to show.

Instructor providing detailed feedback during environment design critique session

Who's Teaching

Our instructors come from AAA studios, indie teams, and everything in between. What they share is years of production experience and a genuine interest in helping others learn.

Mireia Tolvanen

Lead Environment Artist

Shipped six titles across mobile and console platforms. Specializes in modular architecture and performance optimization for open-world games.

Osvald Kekkonen

Technical Artist

Bridges the gap between art and engineering. Focuses on shader development, lighting pipelines, and helping artists understand the technical side of game engines.

Branwen Sikström

Narrative Environment Designer

Worked on story-driven indies and AAA adventures. Teaches how environments communicate narrative without a single line of dialogue.

Students working with advanced lighting techniques during evening workshop session

Technical demonstration of modular environment creation workflow in Unreal Engine

Krelvoxim Eik