From Aspiring Artist to Studio Co-Founder: A Journey in Game Development

Want a career working as a 3D Artist, Level Designer and Co-founder in the games industry? Holly Hudson, a graduate of National Film and Television School (NFTS) chats with The Rookies to share her journey and advice to aspiring artists and creators looking for an exciting and challenging start to a career like her own.

The Journey

What's your current role and what does it involve?

I’m the Co-Founder of Studio Morgan, an indie game studio I established with fellow NFTS graduate Harvey Hayman in late 2023. In the studio, I take on several roles, including Art Director, 3D Artist, and Level Designer. Each of these roles allows me to shape the visual and environmental aspects of our games, providing players with immersive and cohesive gameplay experiences. Outside of Studio Morgan, I freelance as a creative lead and 3D/environment artist, which complements my goal of moving further into art direction and guiding more extensive creative projects in the future.

Where do you work and what type of projects are they involved with?

Studio Morgan is an indie game development studio committed to crafting wholesome, original gameplay experiences with a strong focus on community values. Our mission is to create cosy, family-friendly games that are both unique and joyful, while upholding strong community values, promoting equality through fair pricing and sustainable practices, and ensuring that fun remains at the heart of every game we create. Currently, we’re working on our debut title, Morgan: Metal Detective, a cosy, first-person adventure that invites players to explore scenic Cornish landscapes and uncover hidden treasures using a metal detector.

Set for release on Steam, PlayStation, Xbox, and Nintendo Switch in early 2025, Morgan: Metal Detective offers a laid-back, exploration-driven experience ideal for cosy gamers and families who love discovery without the pressures of combat or high-stakes challenges.

When did you first realise you wanted to work in this industry?

I knew from a young age that I wanted to be an artist, initially focusing on traditional 2D art but eager to find a career that would allow me to tell immersive stories. It wasn’t until secondary school that I found a pathway to do this through digital art. I discovered 3Dami, a non-profit that opens up 3D animation to pre-university students, and I applied to their summer school in 2015. That experience was a turning point: I spent a week on a residential program at UCL, where I learned to create short 3D animated films in Blender. My team created a film called Fish and Ships, and it was the first time I was surrounded by people who shared the same excitement and ambition for 3D art. That environment was incredibly validating and sparked a clear goal for me. Still, it was frustrating that there were no formal GCSE or A-Level courses in games or animation at the time, so I had to piece together my learning on my own.

Since then, it’s been inspiring to see just how far education has come in supporting students interested in game development. I’ve had great conversations with young students excitedly telling me about their programming and game design classes at school. When we showcased Morgan: Metal Detective at Festival of Play 2024, I was thrilled to see kids as young as nine engage with interactive workshops, talks, and game demos that highlighted career possibilities in games. It’s exciting to see how much more accessible the industry is becoming, especially for people who might not have initially felt like it was “for them” - a bit like how my journey began. It’s wonderful to be part of that shift, seeing the next generation of game developers discover a passion that, for me, has been deeply transformative.

How did you get your first big break?

My first big break came during my time at the National Film and Television School, where I worked on Shadows of Them, a first-person psychological horror game. This was part of my first game development module, ‘Hello World’, where we were tasked with creating a walking simulator in just eight weeks.

Shadows of Them follows a mother’s journey through grief, set in a haunting, abandoned underground station. As project manager, I coordinated a team of eight, ensuring deadlines were met and keeping everyone aligned on our creative vision. One unique element we brought into the game was securing Janine Cooper-Marshall, the voice behind Great Western Railway, to record eerie in-game train announcements, adding authenticity to the atmosphere. We released the game on itch.io, and it went on to become a finalist in the Indie Showcase at Develop:Brighton 2022, where we received an Honourable Mention.

Describe the journey you took into your current role?

The journey into my current role began with a BA in 3D Animation and Games at Middlesex University, where I got my first real taste of creating 3D assets and using game engines. My final year project, The Kindred Wilds, was a Rookie of the Year Finalist in 2021 and gave me a clearer direction on where I wanted to go. After graduation, I struggled to break into the industry, which led me to pursue a Master’s in Games Design and Development at the NFTS. I initially aimed to join an indie studio as a 3D or Environment Artist, but through leading the team on Shadows of Them, I discovered my enthusiasm for project management and leadership. This experience gave me the confidence to co-found Studio Morgan with Harvey, where we now have our first title set for release. It’s been a whirlwind journey, but incredibly rewarding, and we’re already planning new projects as we grow our studio.

Why did you choose to study at National Film and Television School?

Throughout my education, I had frequently collaborated with film students, so I knew about NFTS and its prestige in the industry; it’s continuously listed in The Hollywood Reporter’s Top 15 Global Film Schools. I loved the idea of being in a small cohort, which offered more freedom for experimentation and collaboration across disciplines - from screenwriters and sound designers to composers. My determination to study at NFTS was reinforced during my interview with Alan Thorn, then Head of Department. He reassured me that not being a “gamer” wasn’t a disadvantage; in fact, he saw it as an opportunity to bring fresh perspectives and ideas to my work. His words changed how I approached game development, encouraging me to lean into my unique style and experiences.

How does your education complement your work?

I would describe myself as an introvert that’s learnt to be extroverted, so the biggest takeaway from my education has been learning how to communicate effectively, build networks, and lead teams confidently. At NFTS, I received leadership coaching, which emphasised empathy as my “superpower” in building a team culture of trust and open communication. This has helped me approach my leadership role at Studio Morgan with confidence, allowing me to create an environment where everyone feels heard and valued.

Day in the Life

Describe a typical day for you and your team?

A typical day at Studio Morgan involves collaboration and a blend of creative and technical tasks. The core team consists of myself and Harvey, with contractors supporting on specific aspects as needed. During the main production phase of Morgan: Metal Detective, our day would start with a check-in, discussing updates with contractors and reviewing the progress of art and gameplay features. My responsibilities included designing levels, creating and implementing 3D assets, and ensuring that the game’s art direction adhered to our visual guide. Meanwhile, Harvey was hands-on with coding game mechanics, dialogue systems, and ensuring gameplay elements were functional and intuitive.

Currently, as we move toward release, our focus has shifted to refining and optimising the game for multiple platforms, working closely with our porting partner, SubSilico. My work has been centred on updating assets for better performance and refining UI for compatibility across consoles. Marketing has also become a daily task as we connect with the cosy game community on social media, gathering feedback and building excitement around the launch. 

Besides the game, we’re looking toward Studio Morgan’s future and participating in the Game London’s Game Changer cohort to develop our business skills and grow sustainably. The Game Changer programme supports London-based games business founders from underrepresented backgrounds, and is helping Studio Morgan become investment-ready through workshops, mentoring, and networking events.

What third-party and proprietary tools do you use on a daily basis?

For game development, we rely on Unity, Visual Studio, Autodesk Maya, Substance 3D Painter, and Adobe’s Photoshop and Illustrator. We communicate via Discord and manage our projects and files through Google Workspace. Each tool plays a critical role in the day-to-day operations of Studio Morgan, helping us streamline our workflows and ensure we’re working efficiently as a team.

What does your workflow look like?

As a visual thinker, my workflow always begins with rough sketches. Whether I’m planning level layouts, designing UI menus, or storyboarding cutscenes, sketching helps me explore and organise ideas quickly. From there, I transition into a more structured, iterative process. For example, in designing the island for Morgan: Metal Detective, we went through over 20 versions before landing on a layout that felt engaging and navigable for players. Using Unity’s terrain tools, I would create rough drafts of the island’s topography and playtest by walking through it to assess how the layout felt from a player’s perspective. By using a procedural terrain material, we were able to visualise the different parts of the island such as sand, grass, and mud, through texture. This approach allowed us to test gameplay flow and adjust key areas before adding details. We called this our “green-box” stage, where we could quickly modify the landscape and playtest until we had a layout that balanced visual interest with player-friendly navigation. By keeping the workflow open to feedback and iterations, we were able to create a world that feels dynamic and thoughtfully designed while maintaining flexibility to pivot and refine.

Which departments and key people do you work closely with?

Collaboration is central to our process at Studio Morgan, especially as a small team working with contractors and partners. We work closely with SubSilico, our porting partner, led by Graeme Hinchcliffe, who ensures our game is optimised and playable for multiple platforms. NFTS introduced us to collaborators from various disciplines - screenwriters, sound designers, composers, and producers - who have been instrumental in shaping Morgan: Metal Detective into a well-rounded experience. Each brings a unique perspective that adds depth to the game’s story and atmosphere.

Beyond these collaborators, we’ve outsourced specific elements to specialists, including a 3D artist, an animator, and the graphic design company Double Slice. Their insights have helped us bring our vision to life with quality and attention to detail. By working with a range of creative professionals, we’re able to maintain the intimate, cosy feel of our game while achieving a high standard of quality that might otherwise be challenging for a small indie studio.

Are there any industry trends that are changing the nature of your role?

The evolving role of AI in game development is certainly one of the most significant trends impacting the industry. For us, AI presents a way of streamlining tasks, potentially freeing us up to focus on the creative aspects of our work. We’re excited to explore how AI can help us be more efficient, but we’re mindful of using it as a tool to enhance our process rather than letting it overshadow the human creativity at the heart of what we do.

Another unfortunate trend is the rise of redundancies and layoffs across the industry, especially in larger studios. While we haven’t faced this directly, Harvey and I hope to contribute to a more stable, welcoming indie scene where professionals can find opportunities, explore their ideas, and even start their own studios. For us, it’s crucial to build a supportive culture within Studio Morgan, one that values creative freedom and collaboration—qualities that we believe are essential for the indie community to thrive despite the uncertainties in the broader industry.

One thing you’d never change about your job?

The people in this industry. I’ve been pleasantly surprised by how supportive and welcoming the game development community is. Coming into the field, networking events and industry meetups were initially daunting, but I’ve come to see how much the industry values inclusivity and encouragement, especially for women and underrepresented creators. There are so many initiatives aimed at elevating diverse voices, which I find incredibly motivating and heartening. It goes without saying, the industry is by no means perfect and there is still a lot we can do to make this space more diverse, approachable, and financially stable. But, the people here have the drive and motivation to do so, which is really hopeful.

Meeting people who genuinely care about each other’s success has been a game-changer for me, both professionally and personally. It’s incredibly inspiring to be part of a community where people actively uplift and support each other’s creative journeys. It reminds me that, no matter how demanding the work can be, the connections we make and the collaborative spirit of the industry are the most rewarding and irreplaceable aspects of my job.

Harvey now runs a popular, monthly games industry meetup called Good Game Dev Club. “The event is aimed at anyone who works in the games industry, or is trying to break in. It's open to anyone to make friends and help the community to be a good place to exist in.” Please feel free to come along!

Harvey and Holly showcasing Morgan: Metal Detective at EGX 2023
 

But one thing you wouldn’t mind seeing changed is?

One thing I'd love to see shift in the industry is greater stability and security for developers, particularly in indie studios. While the indie scene is filled with creativity and passion, the constant pressure to keep projects funded and meet tight deadlines can make it challenging to create sustainably. Larger studios, too, have been impacted by increasing layoffs, and I think a lot of talented people are left in positions of uncertainty. I’d love to see more structures in place to support smaller studios and independent developers, whether that’s through improved funding resources, accessible health benefits, or more transparent avenues for fair revenue-sharing.

Creating an environment where all developers can thrive would mean everyone could focus more on innovating and pushing creative boundaries rather than worrying about financial stability. I think this kind of change would allow the games industry to continue to attract and retain diverse voices, leading to an even more vibrant and inclusive creative community. And for those already here, it would mean fewer trade-offs between financial security and pursuing meaningful, exciting projects.

Career Advice

Is formal education essential for someone aspiring to do your job?

Not necessarily. While formal education can provide a great foundation, what’s most essential in this field is a true enthusiasm for exploring various areas of game development, along with the discipline to build and refine your skills independently. Developing a strong portfolio by consistently practising and experimenting with different techniques and tools is what really makes an aspiring artist stand out. Many people have made it in games through self-teaching and personal projects, proving that hands-on experience and passion often outweigh formal qualifications. There are so many free online resources available for anyone to start their journey in game development. Platforms like Unity offer free tutorials and courses to help beginners dive right into creating games, and Blender also has a lot of tutorials for learning 3D modelling and animation. These resources provide a solid foundation and can open doors for aspiring developers to learn essential skills, all at their own pace and without upfront costs. Additionally, participating in game jams and uploading projects to platforms like itch.io can be great ways to build experience, get feedback, and connect with a community of game developers.

What tasks would you be typically asked to do as a junior artist?

Although I didn’t come up through a traditional junior-to-senior path, I can share what I’d expect from a junior artist on our team. Typically, I’d assign them specific assets to create, along with concept art, relevant references, and a visual guide to ensure everything aligns with our game's aesthetic. Their tasks would involve translating these assets into 3D by modelling, UVing, and texturing them, while being mindful of performance requirements in the game engine. In a larger studio, roles would be more specialised, often focusing on a narrower scope - like asset modelling only or texture work - to fit the demands of large-scale production.

What skills do you look for when hiring an artist?

Above all, I look for a genuine enthusiasm for learning and improving. An artist who is proactive about their growth stands out, whether that’s through experimentation, side projects, or simply the willingness to ask questions. Beyond technical skill, adaptability is key, as game development often involves switching gears, tackling new challenges, and iterating based on feedback.

What skills seem to be missing all too often?

One skill that’s surprisingly overlooked is optimisation - understanding how to balance detail and efficiency so assets perform smoothly in-game without compromising visual quality. Many artists focus on aesthetics but miss the technical side, which is essential in production. I’ve absolutely fallen at this hurdle, and it was a huge learning curve for the production and porting of Morgan: Metal Detective! Now I’m prepared to begin any process with the intention of creating performant, game-ready assets. Additionally, storytelling within assets and environments is often underdeveloped. The best assets aren’t just well-made; they convey personality, backstory, and place within the world, which is a unique aspect of game art.

Describe your attitude towards your job?

I feel a sense of responsibility and purpose in my work, especially as a woman in games. Being in a field where diverse perspectives are still emerging, I’m driven to bring fresh, inclusive stories into our projects, and I love that I have the creative freedom to do so every day. My goal is to create games that feel welcoming and relatable, not just for people who are already deep into gaming, but for those who might not have considered games as something for them. 

I’m passionate about crafting experiences that resonate with new types of players, who may find that games can offer comfort, exploration, and escapism just as much as they do intense action. I want our work to open up new doors, making gaming spaces feel like places of connection and belonging.

Being in this industry has shown me how powerful games can be as tools for expression, storytelling, and community-building. Each project offers a chance to shape unique, inclusive worlds, and I feel privileged in helping to bring those worlds to life. It’s deeply fulfilling to create in a way that isn’t just about entertainment, but about making meaningful and diverse stories that leave a lasting impact on players.

Where do you get your inspiration from and how do you implement it into your work?

My inspiration often comes from my view of games as tools for relaxation and escapism. I’m drawn to the cosy genre for its ability to create positive, uplifting experiences, and this directly shapes the themes and aesthetics of my work. I often lean towards bright, colourful, and illustrative art styles with a grounding in 2D influences. This visual warmth is something I aim to bring into every environment I create, so players feel a sense of peace and enjoyment.

In many ways, I create the kind of games I would want to play myself - there’s nothing more motivating than working every day on a project I’d be excited to pick up and play.

Cauldron Brew
 

Describe a project brief that you’d recommend artists create for their portfolio?

For student 3D or environment artists, I recommend focusing on a single, detailed scene or a series of interconnected assets rather than attempting to create an entire game. Concentrating on the quality and storytelling of individual assets or environments will better showcase your skills to potential employers, who will value the depth and polish of your work over an incomplete game.

What mistakes do you see artists making when applying for jobs?

A common mistake is showcasing too broad a range of styles without a clear focus. While versatility is valuable, it’s more effective to have a portfolio that highlights what you truly enjoy and excel at. This focus gives studios a better sense of how you’d fit within their art style and vision. Another issue is overlooking the importance of optimisation; a beautifully crafted asset needs to work well within game engine constraints.

If you could give one piece of advice to artists starting out, what would it be?

Create work that’s genuinely “you.” Reflect on the styles and genres you love most, and bring those elements into your portfolio. Your unique artistic voice not only shows dedication but also makes your work memorable. I believe studios really appreciate when an artist brings their personality and passion into their craft - it demonstrates your commitment and willingness to grow.

If you could go back in time to when you first started out, what advice would you give yourself?

I’d tell myself to be patient and trust the journey. There’s so much pressure early on to find a specific role or hit career milestones quickly, but I’ve come to find that real growth comes with time, experimentation, and persistence. Staying open to unexpected opportunities and continuously refining your craft are what build a fulfilling career in games. I certainly didn’t expect to be co-founding an indie games studio, but here we are! It’s been one of the best, and most exciting decisions I’ve made in my career so far.

-

Holly Hudson is a creative leader and co-founder of Studio Morgan, the indie game studio behind Morgan: Metal Detective. An NFTS graduate with over 6 years of experience in art direction, 3D modeling, and environment design, Holly brings a visionary approach that merges creativity with cohesive design and sets new standards in game aesthetics.

Originally published via therookies.co/

Feeling inspired by Holly’s journey?
Places are available on the NFTS Games Design & Development MA, starting January 2025!
2 years | full-time | in-person
nfts.co.uk/games-design-and-development

Check out this new alternative games pathway!
6 months | part-time | online
https://nfts.co.uk/indie-games-development