Near the end of 2017, I was finishing up high school and released a 6-minute 3D animated short film. Despite the nearly 18 months of work I spent placing over 25 thousand key frames and wrangling a 3 month rendering project, the film premiered as a glorified pile of 💩; it was pretty bad and didn't even get to 400 views on YouTube. Throughout the project I had gotten to know nearly every single aspect of Blender, the open-source 3D design & animation suite I'd been using for the 3 years before the film's release. It worked—albeit strenuously. After the film's release, I stepped away from CG, dabbling every now and then, but focused on other parts of life. 

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Later in 2019 while sitting in the sweltering heat of Ceará, Brazil, I got thinking about my future in creatives and business, which I found fascinating myself with. On a half-torn sheet of Tilibra paper, I found myself sketching a diagram of an animation studio pipeline that hired in-house talent from the "wild west" of CG: the independent artist. A crucial idea to the studio was the intentional avoidance of a "middle-man" model; Rixmo's talent worked in-house and in-person. Only problem was we needed "independent software" for our pipeline, and my experience had worried me.

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Queue Blender 2.8: A massive UI overhaul, a new real-time rendering engine, astounding stability improvements, and a rush of generous donors had made the software actually good. It suddenly became a candidate to be studio-grade.

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The idea sat in the back of my head for the next couple years while I started college. However in 2021, I was contacted to revive my 3D skills in the massive wake of the infamous non-fungible token. Half way through the project, I knew this would be the perfect opportunity to try out my sketch from 2 years before. Rixmo was born.

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Since then, Rixmo has gone on to make custom 3D NFT collections for brands ranging from coast to coast—collections ranging from pure python code to cute dumpster on fire. The company has been steadily scaling in both art and software; some of us left click, and some of us right click. We're making the future of 3D by focusing on independent talent and software, and of course, making nothing short of amaze balls.