I am an Architectural Illustrator and Digital (3D) Reconstruction Artist based near Edinburgh in Scotland. I work on heritage projects right across the country, from Caithness to Cornwall, and a few places further afield. I began my career as a graphics artist in the early 1990s, and in the following decade, I applied my expertise in digital 3D techniques to heritage visualisation, earning a reputation for delivering high-profile, academically respected work.
Methods and technologies
My digital reconstructions are evidence-based and research-led. I develop these through close collaboration with architectural historians, cultural advisors, and archaeologists. I carefully analyse information from measured survey drawings, Geospatial (laser survey) data, GIS, landscape (height and contour) data, archaeological reports, historical building records, and historical images and engravings. Many of the heritage sites I reconstruct are complex, fragmented structures that pose different challenges for visual interpretation. The process typically requires several months of effort, dedication, and careful planning, but the hard work is always rewarded with an image that can withstand academic scrutiny and better inform audiences.
Digital 3D models are the cornerstone of my visual reconstructions. The models provide unlimited flexibility for showing a building's chronological development, producing intricate cutaway visuals, different perspectives, animations, and immersive Virtual and Augmented Reality experiences. Each model is tailored and adaptable, ensuring it meets the unique needs of every project. My Portfolio contains many of my past projects and commissions.
I create all my 3D models using the open source 3D software Blender 3D. I have supported its ongoing development through the Blender Development Fund for over twenty years. I use different add-on tools or plugins to streamline workflows and optimise my model geometry in Blender. I mix image-based and procedural texturing techniques to add extra realism to my models, using Substance 3D Painter and Photoshop. Most of my finished images are rendered in either Blender's Cycles or EEVEE render engines, with post-rendering treatment and digital painting done in Photoshop or, sometimes, the Procreate app on the iPad, which I like for its portability.
A range of other software supports my work, including QGIS (for handling some survey data), Adobe Illustrator, and Affinity (for vector illustration). I sometimes also use Unreal Engine, although I prefer to focus on modelling and illustration, and usually collaborate with other artists on bigger projects with very large environments.
A brief guide to commissioning my work
Download this short guide to commissioning my services (PDF, 1MB). It includes some frequently asked questions and lists some of the information and resources I usually need to be able to estimate costs and timescales. Contact me by Email.
My position on the use of AI technology
While some AI (Artificial Intelligence) technologies support minor aspects of my production workflow, I am committed to producing original work and choose NOT to use generative (prompt-driven) AI to create my reconstructions for personal, practical, and ethical reasons. Outsourcing my creative and critical thinking to a machine greatly diminishes the rewards and enjoyment I experience as a professional artist. I prefer the flexibility of working with 3D models, which offer me greater control and adaptability and are better suited to the technical demands of my work. As AI technology evolves and the pressure to adopt AI workflows to improve efficiency increases, I continually re-evaluate its role in my work.
News & updates
In addition to this website, I usually share news of my recent work and projects on LinkedIn and Bluesky.
Like most Americans of Scottish descent, I have always been fascinated by my ancestral connection to the great Clan Lamont of Argyll. I was, of course, drawn to the ruins of Castle Toward, which had been the seat of my family for over three hundred years. Seeing it in ruins only fueled my desire to know more about what it once looked like. Fate, or providence, or maybe just dumb luck, put Bob Marshall in my sights a couple of years ago, and once I contacted him about bringing his enormous gifts to bear on the matter, he produced nothing shy of a miracle in the digital resurrection of that imposing old pile of stones. I could absolutely not be more pleased with what he has produced. Generations of Lamonts will all benefit from this man’s enormous talents.
David M. Lamb, BS, MA, FSAScot. Johnston, Iowa, USA
Bringing your imagination to life after detailed archival research can be daunting. In the hands of Bob and his team, our vision was taken beyond our high expectations. Using detailed remits into topography (LiDAR), historical sources for architecture, ship types, pirate clothing, island vegetation and animal populations, Bob created the first historically realistic image of one of history’s great places. Nassau has been explored, romanticised and misunderstood by Hollywood, TV and video games for over 100 years. Now, it is back on the map in a brilliant, stylish and historically viable 3D model. Working with Bob has been a total delight from start to finish. His immense skills and experience are recommended with great pleasure.
Dr Sean Kingsley. Director
Wreckwatch Int.
A huge part of where we are is down to your help, Bob. People can see the broch, picture it in the landscape and get a step closer to being a part of the Iron Age experience. It really has helped us so much in realising our dream. Thank you!
Chris Aitken.
Caithness Broch Project