Sonduku Studio is the practice of Gabriel Daniel Cristea — game UI/UX architecture, atmospheric environment illustration and technical 3D pipelines, authored end-to-end and handed off production-ready.
Each project below is shown the way it was delivered: the interface system, the art, and the production assets behind it — with the brief in mind and the player in front of it.
01
Game UI/UX
BUST — The Dice Game
2026 — ongoing
Lead UI/UX and art direction for a multiplayer dice game, built around a tactile medieval-tavern identity.
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02
Environment & 3D
Bloom It
2026 — ongoing
Watercolour environments, an illustrated HUB map, linocut iconography and hand-painted 3D plant textures.
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03
Game UI/UX
Dark Tales
2026
A gothic interface language for a medieval dark-fantasy RPG — character, inventory, equipment, crafting.
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04
Concept art
Damnation
2026
An ARPG interface-frame trial: gothic ornamentation pushed against real panel constraints.
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05
3D & Animation
Color Mixing Workshop
2026
Rigged props, animation curves and PBR texture sets, iterated against real Unity import feedback.
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06
Technical art
Ink & Iron
2026
An illustrated 1805 Europe strategy map plus the province bitmap and colour data the engine reads at runtime.
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07
Card & icon art
AI Kill Alice
2026
Twelve satirical cyberpunk card illustrations and icon concepts, built for readability at inventory scale.
Explore case studyFour disciplines that share one pipeline. Most engagements start with an interface problem and end with a folder of engine-ready assets and layered source files.
Interface systems designed around the actual play loop — HUDs, menus, inventories, progression screens and the design language that holds them together. Built as reusable component kits, not one-off mockups.
Atmospheric scenes, dialogue backdrops, world maps and icon systems. Mixed traditional media language — watercolour, ink, linocut — authored to sit coherently inside a single game palette.
Gameplay props modelled, UV'd and surfaced with PBR sets, then rigged and keyframed for interaction. Delivered in the format the team actually imports — GLB, FBX, whatever the pipeline wants.
The unglamorous half that makes the art work in-engine: province bitmaps with flat RGB encoding, region data, pixel-exact registration between art layers, export QA and handoff documentation.
It mirrors how the studio presents its own 3D work: establish the structure, build the surface, then hand over something the team can actually ship.
Brief, references and pipeline constraints. The play loop is mapped before a single visual decision is made, and the information hierarchy is settled in plain wireframe.
Material studies, palette and framing proposed as a reusable language — frames, buttons, icons and typography that scale across every screen in the game.
Full-fidelity art: painted environments, layered UI assets, PBR texture sets, rigged props and animation. Reviewed in motion, not just as stills.
Engine-ready exports, layering conventions, naming standards and iteration on real import feedback until the assets simply drop in.
Sonduku Studio works on direct inquiry and referral. No account layer, no handoff to an anonymous bench — the artist who pitches the direction is the artist who paints it.
A game art practice built around interface legibility, tactile material craft and clean handoff.
The work spans medieval tavern interfaces, gothic dark-fantasy menus, hand-painted botanical worlds and technical grand-strategy maps. Different genres, one rule: an asset is finished when a player can read it instantly in play and a developer can drop it straight into the build.
The full portfolio, layered source files and credentials are shared on direct request. Reach out with the project, the platform and where the art needs to land.
Send the project, the platform and the rough shape of the deliverable. You'll get back a direct read on scope, pipeline and where the art should land.
