Creative, UI/UX, WebsiteOctober 2026

Alvis Bansal

Client: Alvis Bansal
Industry: Game Art · 3D
Services: Art Direction & UIWeb Development3D on the WebBooking
Live Page: Open Project

Case Study

Five working directions for an artist whose work ships in AAA games.

Alvis Bansal models weapons, vehicles, props and environments for games — his credits include Call of Duty, Diablo IV and Remnant II. A portfolio for that audience can't be a template, so we didn't design one direction and hope. We built five complete, working sites, each borrowing from a game artist's own tools, and refined the strongest into the live portfolio.

The Alvis Bansal portfolio on desktop and mobile: the red-accented headline Game assets, down to the last bolt beside a deck of weapon renders on a near-black page

The Challenge

The people who hire a 3D game artist — art directors, leads and studio recruiters — look at a lot of portfolios, fast. They want the work at full resolution, the credits up front, and a way to get in touch, in about that order. Alvis's artwork already lived on ArtStation; what he lacked was a home of his own that made his shipped credits — 12 games, from Call of Duty: Modern Warfare II and Vanguard to Diablo IV, Remnant II, Suicide Squad: Kill the Justice League and The Outer Worlds 2 — impossible to miss.

A first, conventional pass — split hero, card grid — was rejected on sight. It looked like every other portfolio, which for an artist is the one thing a portfolio can't do.

Five Directions, All Built

Rather than mock up options, we built each direction as a working site, so the choice was made on how they felt to use — and each one took its idea from a game artist's own tools. All four explorations are still live to try: one, two, three and four.

Hero Scan. A procedural suppressor rendered live in WebGL, split by the cursor into the final render on one side and its wireframe topology on the other — the modelling pipeline as the hero. Work was browsed like a game's inventory screen.
Turntable. Red poster typography around a spinning 3D platter of renders, like a model on a presentation turntable.
Torchlight. WebGL relights a render from the cursor, so the visitor holds the torch and discovers the surface detail.
Main Menu. A game front-end look. The first version was a full game shell, down to a "Press any key" gate — striking, and in the way. It became a normal portfolio with game styling: labels load as game terms like Campaign and Co-op, then glitch into the real ones, Work and Contact.

Direction one, Hero Scan: a 3D suppressor model split down the middle into a red-lit final render and a white wireframe, with the name Alvis Bansal split the same way behind it — Hero Scan — the cursor drives the cut between render and wireframe.

Direction two, Turntable: huge black ALVIS BANSAL type on a red background around a spinning circular platter of game-asset renders — Turntable — poster type and a spinning platter of renders.

Direction three, Torchlight: a scoped rifle render emerging from darkness under a cursor-driven light, with the serif headline Every surface tells a story — Torchlight — the visitor relights the render with the cursor.

Direction four, Main Menu: italic ALVIS BANSAL lettering over a dark rifle render, with game-menu labels Campaign, Credits, Leaderboard and Co-op down the right side — Main Menu — game front-end styling over a plain portfolio structure.

What the Directions Taught Us

Building every direction for real meant each one was judged on use, not on a still frame — and each left a rule behind for the final site.

The work comes first
The most technical effects were the hardest to see the art through. Anything that hides a render, even beautifully, goes.
Game flavour, plain navigation
Game styling earns its keep; game mechanics don't. Labels and paths must read like a normal portfolio.
Real numbers only
Credits, studios and shipped games are the proof — shown as facts, never padded into vanity stats.

The final Alvis Bansal homepage: the headline Game assets, down to the last bolt with the red phrase down to the last bolt, an availability pill, See my work and Book a kick-off call buttons, and a 3D deck of weapon renders — The live site — a fifth direction, refined: the headline, the call to action and a 3D deck of his best renders.

The Final Site

The fifth direction won, and we refined it until it felt finished. Its hero is a 3D card deck of featured renders that flies in on load, tilts with the mouse and cycles itself — after an earlier exploded-view hero was cut for competing with the work. The headline says what he does in his own trade's terms: Game assets, down to the last bolt. A faceted low-poly "A" became the logo.

Below it: a marquee of the 12 productions he has shipped on, real stats, and a What I build section where weapons, vehicles, props and environments each spin as live clay-render 3D models in the browser. Every project page carries the full ArtStation gallery in a lightbox, the About page shows his game credits and software, and recommendations from colleagues appear verbatim. Kick-off calls book straight through VoltsBook. Every motion respects reduced-motion settings.

It runs on plain PHP and SQLite with a back office, so Alvis edits his own projects, galleries, credits, reviews and settings without touching code.