Hiring: Lead Artist (3D)

Work with a small team on a puzzle-exploration game that is philosophical, and quiet, and is being made for reasons other than crass profit motive. Run by the designer/programmer of the critically-acclaimed game Braid, the team is fully-funded and pay is high.

This game places a heavy emphasis on the way things look, and will be a refreshing project for those who value nuance.

Candidates who can work full-time in San Francisco are strongly preferred, but if your personal style is the right thing for the game, exceptions can be made.


  • During pre-production, design and model model prototype versions of environments and objects so we can try them in-game and put together a well-functioning game world full of unique locations.
  • During production, interview to hire 2 additional highly-skilled 3D artists who you will lead to design and build the final version of the game world.
  • Iterate on environment designs, modifying them to improve gameplay and thematic effectiveness.
  • Job duration: An estimated 2-year development cycle; possibility of a permanent position.

    The ideal candidate understands the subtleties of storytelling via environmental cues and has a good feel for the use of color and lighting.

    Please have a good portfolio. The ideal portfolio would include both indoor and outdoor 3D environments as well as everyday objects. Please no monsters or weapon models. Thanks.

    To apply, send email to jon [at] number-none.com.

    12 thoughts on “Hiring: Lead Artist (3D)”

    1. My god, does this mean you have thought of ways around the conflicts in dynamical meaning brought on by games with wide scopes and large production teams? “A puzzle-exploration” game… Oh I hate hype, but there have got to be some exceptions. The Last Guardian, and this. I hope everything goes well, though I know it will. I know I won’t be playing the fruits of this post for several years, but I know it will be worth every second of waiting, and I know that if it has to take a few years more to make it what it should be, then a few years more will be taken.

    2. Well, this isn’t going to be what I would consider a large production team; it’s a very small team by the standards of the mainstream game industry. I am trying to walk a fine line between having enough people that we can produce a good-quality 3D game, and having so many people that the team part becomes a hassle.

    3. jonathan, sólo quiero darte las gracas por la maravilla que has creado( braid) y surgerirte que el proximo juego que hagas, en vez de tener en centa el tiempo, lo que podrias incluir es que en cada nivel tu personaje tenga distintas habilidades, algunas de ellas negativas

    4. “Well, this isn’t going to be what I would consider a large production team; it’s a very small team by the standards of the mainstream game industry.”

      If this team can produce something half a good as your last venture I’m already sold. Good luck, and thanks for your genius with Braid.

    5. I don’t think Jon is going to answer questions about interpreting Braid here. Though I think it’s a bit out there that the title has anything to do with Braid. I think it’s called Braid because a Braid is a thing that we weave in and out, as Tim does with time. The braid is significant in the story too, though I don’t know whether it or the title came first.

      Two things that occurred to me to do with the braid, which I think are quite cool:

      -The girl you chase in the last level does not have a braid. Either she’s not the princess, or the braid is a metaphor (it is anyway, so I guess this would make it more of a metaphor)
      -I didn’t understand the significance of the braid lashing Tim’s face in the first textboxes until I was wondering whether the other events they describe were happening in reverse. The fact that it was able to do this shows that it wasn’t.

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