Principal Technical Artist • Tools & Pipeline • Game Engine Specialist

Austin, Texas • Principal Technical Artist @ Bluepoint Games (Sony SIE)
Portfolio: https://jonathankimballgalloway.me • LinkedIn: https://www.linkedin.com/in/hogjonny

Ask me about 3D Content tools and workflows, Realtime 3D Rendering. No matter who I work for, my opinions are my own. I have many opinions and thoughts and they are not to be considered to be the opinions of Bluepoint Games or Sony (SIE).

Notice: This is my professional Github account, generally associated with employers, teams and development projects.

The reason my profile name is HogJonny-AMZN, is because I was working at AWS on Open 3D Engine at the time I made it. I have other accounts, however over the last 5 years most of the development work I have done was done in this account. I don't want to risk breaking any commit history by updating it (I tried before and DID break some.) So now it just means "HogJonny the AMaZiNg". I've contemplated moving personal projects to my prior personal github account, it's just easier to maintain a single identity.

I’m a full‑stack video game developer with 30+ years across content, design, production, and technology. I’ve held director‑level roles in creative, art, development, and production, which gives me a holistic view of how teams actually ship great games ... not just prototypes. With a blend of artistry, technical depth, and a producer mindset, I move comfortably between pixels, pipelines, and people to help build fun, beautiful, and technically robust player experiences.

I’m a tinkerer at heart: building game tech, tools, and workflows is where my creativity lives. Over the years I’ve contributed to the design, art, and development of dozens of shipped titles and internal projects, as well as multiple in‑house and commercial game engines and their tool ecosystems. My specialties include:

• Technical art and real‑time rendering
• Python‑driven tools and pipeline automation
• Procedural world‑building systems, terrain, and environment art
• Content performance / memory optimization
• Engine feature design and functional specs for artists and designers

I’ve collaborated with teams at EA, Activision, Atari, Take‑Two/Rockstar, Sony, Amazon Game Studios, and AWS Game Tech. My work spans Open 3D Engine (O3DE), AWS Lumberyard, MaxPlay GDS with OrigamiSky, and franchise titles like Uncharted: The Nathan Drake Collection, Gravity Rush Remastered, Titanfall, Starhawk, and Warhawk. I’m Scaled Agile certified, comfortable at both hands‑on and strategic levels, and I’m excited about platform‑agnostic, cross‑device game experiences that follow the player ... not the hardware.

I don’t really fit a mold. I’m a multi‑passionate polymath and autodidact: formally educated in digital arts, self‑taught in most of the engineering, tooling, and systems work I do today. I learn what I need, when I need it, and I enjoy crossing boundaries between disciplines.

Right now I’m back at Bluepoint Games on an unannounced PS5 title, working inside the Bluepoint Engine and toolchain. My focus is on:

• Runtime analysis and performance tuning on PS5
• Modern Python‑based tools and pipelines (PySide6, NumPy, async)
• DCC integrations (Maya, Houdini, Substance, Photoshop) that feel invisible to artists
• Procedural / rules‑driven content generation for large‑scale environments

This “round two” at Sony/Bluepoint combines everything I learned in engine/tooling land (O3DE, Lumberyard, MaxPlay) with the craft of high‑fidelity, console‑first game development.

A lot of my public technical‑art and engine work lives in and around the Open 3D Engine (O3DE) ecosystem. I’ve been heavily involved in Python tooling, procedural world building (terrain, vegetation, biomes), and content workflows.

Some relevant repos and starting points:

• O3DE main repo
  https://github.com/o3de/o3de

• Multiplayer Sample
  https://github.com/o3de/o3de-multiplayersample
  https://github.com/o3de/o3de-multiplayersample-assets

• Loft Arch‑Vis Sample
  https://github.com/o3de/loft-arch-vis-sample

• Workshops & Learning Material
  https://github.com/o3de/o3de-workshops-2022

More technical‑art‑focused repositories, prototypes, and experiments (including CO3DEX and other Python/tooling work) will be linked here as I continue to organize and surface them.

• Empowering artists – The best tools disappear into the workflow. I like building systems that let artists spend their time on intent, not wrestling with process.
• Quality at scale – Procedural systems, smart data models, and good tools design are how you ship large worlds without burning out a team.
• Bridging disciplines – I enjoy being the connective tissue between engineering, art, design, and production.
• Shipping – Perfect is the enemy of shipped. Build, iterate, learn, and refine.

• Portfolio: https://jonathankimballgalloway.me
• LinkedIn: https://www.linkedin.com/in/hogjonny
• Co3dex: https://www.co3dex.com

If you’re working on engines, tools, rendering, or procedural world‑building and want to compare notes, feel free to reach out.

The first commercial game I worked on was Secrets of the Luxor, shipped by Mojave in April 1996. It was not real‑time 3D – at the time that was barely a thing in games – but that changed quickly by the time I worked on my second commercial release at Parsoft. Before Luxor, I was at Strata, the makers of Strata Studio Pro, the 3D DCC suite popularized as the tool used on Myst. I started as an intern making 3D clip art, then graduated to building a 3D point‑and‑click mini‑game set in an Egyptian tomb, created as an interactive experience for Epcot Center and similar installations.

That is how it started: making games in a small historic home in St. George, Utah that we had outfitted as a tiny studio, combining early 3D graphics with interactive storytelling long before “technical art” was a common job title.

From there I moved into real‑time 3D at Parsoft Interactive, working on sims like Fighter Squadron: Screamin Demons Over Europe and the A‑10 series. That era pulled me fully into game engines, performance, and the nuts and bolts of how 3D worlds actually run. Over the next decade I moved through roles from Senior 3D Artist to Lead, Director, and Producer, contributing to titles like Twisted Metal: Black, Star Trek: Elite Force 2, GTA: San Andreas, The Warriors, Neverwinter Nights 2, and many others across PC and console.

In October 2016 I accepted a position with Amazon, joining the Lumberyard team in Austin within AWS Game Tech. What was Lumberyard has since become the Open 3D Engine (O3DE): https://www.o3de.org/

I started as a Senior Technical Artist with additional responsibilities as the Product Owner for a new environments team. I contributed functional designs for environment components, workflows, and documentation, and was promoted to Product Manager – Technical (PM‑T). From there I scaled my role into designing new systems and component patterns for procedural world design, including:

• Dynamic Vegetation for procedural biome design and decorative object placement
• Landscape Canvas, a node‑graph based visual editor for procedural world design, now extended into the terrain system

After that I focused on scaling Python across the engine: giving technical artists and tools developers first‑class scripting surfaces for automation, editor customization, and extensibility. Finally I took on the rendering PM role for Atom, driving it to a usable state inside the engine, complete with content workflows, pipelines, and tools, and getting the first version into customers’ hands and out into the open‑source world.

As a Senior Design Technologist, I operated where art, UX, and technology collide. I owned large slices of the ecosystem and, most importantly, acted as First Customer: using the product the way our customers do, and turning that experience into a flywheel of unmet needs, better workflows, and sharper product decisions.

All of this sits on top of almost three decades of game‑dev work. I have worked with some of the most influential companies in the industry, including EA, Activision, Atari, Take‑Two/Rockstar, Sony, Amazon Game Studios, and AWS Game Tech, across roles from intern to producer to principal‑level technical artist. My core throughline has always been 3D art, tools, and technology, making games on the cutting edge.

I believe the future of games is platform‑agnostic experiences and cross‑platform play that focus more on the player and their identity than on any single device or service. I picture a web of connected game experiences across all the devices in our lives: taking a session on the go with a phone or tablet, then coming home to an extended, high‑fidelity experience on a console or PC, all as one continuous journey.

At heart I am still a tinkerer. Making games and the tools that build them fulfills all of my creative impulses. Over my career I have contributed directly to the design, art, and development of many shipped titles, canceled or unannounced projects, demos, and showcases. The specifics have evolved from pre‑rendered Egyptian tombs to PS5 remasters and open‑source engines, but the pattern is the same: build systems that let creative people do their best work, and keep pushing what real‑time worlds can be.

The postings on this site are my own and do not necessarily represent the postings, strategies, or opinions of any current or previous employers like Sony, AWS, Rockstar or the Open 3D Foundation (or it's parent the Linux Foundation.) - Buy me a coffee: https://www.buymeacoffee.com/hogjonnyamzn