JONATAN MERCADO
3D ART DIRECTION · REAL-TIME · PIPELINES
I create photoreal imagery, lead 3D teams and build scalable production workflows for product, entertainment and digital environments.
What I do
I work between art direction, visual quality and technical production — from a single image to repeatable systems designed to scale.
Selected clients & collaborations
Selected work across entertainment, automotive, luxury, visualization and real-time production.
Selected work
Product visualization, hard-surface assets, real-time cinematics and architectural imagery.
01 / PRODUCT VISUALIZATION
Photoreal product imagery built around material response, lighting and controlled composition.
Commercial imagery, material studies and atmospheric product lighting.
02 / HARD SURFACE
Mechanical asset work combining modeling, material breakup, wear and close-up surface detail.
03 / REAL-TIME CINEMATIC
Real-time cinematic created in Unreal Engine, focused on environment, lighting and visual atmosphere.
04 / ARCHITECTURAL VISUALIZATION
Interior imagery focused on daylight, material readability and photographic composition.
Interactive 3D
Real GLB assets rendered directly in the browser — with material variants, doors and drawers controlled in real time.
PRODUCT / 01
PRODUCT / 02
TONSTAD uses its WOOD / WHITE PBR texture sets. HAUGA switches between its wood setup and the embedded white material definition. Glass is kept subtle and transparent while preserving stable depth behavior.
Real-time finish changes using the product's PBR material structure.
Doors and drawers can be inspected open, closed or anywhere in between.
Transparent materials are patched for stable alpha and depth behavior.
Built around reusable GLB assets rather than one-off presentation scenes.
Scale & direction
I work hands-on when needed, but I also lead teams of artists and build the production structure required for large deliveries.
I define the visual target, organize ownership across a team, review work, unblock artists and keep parallel production streams moving toward one consistent quality bar.
For projects that require large numbers of assets, renders or deliverables, I design the naming, review, QA and export systems that keep quality repeatable as production scales.
I can structure teams and 3D pipelines for high-volume datasets used in AI training, where consistency, metadata, repeatability and throughput matter as much as individual asset quality.
Tools & systems
Most of these tools started the same way: a repetitive manual task became slow, inconsistent or difficult to review at scale. Instead of adding more process around the problem, I built a tool to remove the bottleneck.
Large material families were slow to validate manually. Wrong color spaces, inconsistent map ratios and subtle differences between versions were easy to miss.
A controlled review scene with original/remaster comparison, HDRI switching, family navigation, non-color validation and aspect-ratio checks.
Versions, collections and export states were being managed by hand. That made naming drift, duplicate objects and inconsistent deliveries too easy.
A standardized original/remaster collection structure with controlled instancing, predictable naming and repeatable export of production-ready props.
A remastered asset can look convincing in isolation while still drifting from the source in silhouette, proportion or placement.
A fast review setup for original-versus-remaster comparison, focused on silhouette, scale, orientation and high-level shape before detail review.
Small lighting, material and exposure changes are difficult to judge from memory, especially across many iterations or reviewers.
A lightweight A/B comparison tool for instant visual validation of render versions, making differences obvious without switching files or applications.
Static renders do not expose how a configurable product behaves: material states, moving parts, hidden surfaces and browser performance all matter.
A browser-based GLTF viewer with material variants, doors and drawers, camera controls, product states, wall visibility logic and web-oriented asset handling.
Oversized source textures, mixed formats and inconsistent map resolutions created unnecessary memory use and repeated manual cleanup.
Batch conversion and relinking scripts with map-specific resolution rules, consistent formats and predictable texture budgets for production delivery.
Showreel
About
I’m a 3D Art Director and CG Lead based in Valencia, working across photoreal visualization, real-time graphics and scalable production.
My focus is where artistic direction and technical execution meet: defining the visual target, leading the people producing it, and building workflows that keep quality repeatable at scale.
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