I turn thoughts into things, figments of imagination into fragments of reality. Its what I love doing, and what I will always do. From the looseness of a design process to the nitty gritty of a highly detailed, fully realized alternate reality - I enjoy the process of conjuring through art.
For recommendations please feel free to view my LinkedIn profile.
* Contributing to building a studio and team as well as an initial game in fast paced development.
* Involved in team growth and hiring efforts; seeking, interviewing, and reviewing candidates.
* Working with other artists to grow their capacities, skill sets, developer perspective, and artistic/technical capabilities.
* Project management for all character and animation needs - UE4 based project.
* Providing insight, approaches, and critique for the environment art team.
Focused on environment art needs at the early stages of an unannounced project.
- God Of War: Ragnarok (in development)
* Generated a number of pitches related to realms, gameplay spaces, gameplay concepts, and narrative.
* Collaborated to identify, problem solve, and prototype a large involved boss encounter.
* Prototyped all aspects of potential level concepts drawing inspiration from studied mythology.
* Early exploration around certain narrative heavy spaces.
* Did R&D on materials for complex surfaces, generating tech requests and potential approaches.
* Created high quality environment assets and props including for cinematic use.
* Worked to help carve out a certain style guide to clearly communicate and promote design harmony across artists and processes.
- God of War (2018)
* Produced nearly all facets of Tyr’s Vault; executing art and design, some VFX, as well as pushing aspects of the level which required planning and coordination to pull off large amounts of interactive objects, and facilitated gameplay and cinematics throughout. Aimed to push the bar in every instance possible.
* Developed the final versions of several locations in Tyr's temple,
* Produced the final version of Kratos' house including a number of its props.
* Reached out of my area to create the effects of the axe’s freeze mechanic across the game.
* Generated some early explorations for the temple bridge, realm towers, and trim designs.
* Created certain hero props such as the common chest.
*Designed and created unique, extensive, and complete modular sets to produce layout variants for all aspects of huge lavish player housing estates.
*Designed and created the majority of the large scale unique hero asset sculptures, features, and details used in estates.
Sonic Boom: Ryse of Lyric
Illfonic produced the Battle mode component for Sonic Boom. I created art content used across these multi-player levels, as well as an entire hazard course level.
Batman Arkham Origins: Blackgate
• Created unique characters and related assets for multiple performance platforms simultaneously on a time sensitive project; developing workflow to greatly speed the process using shared meshes and modifiable base assets.
• Re-created specific characters and assets from Arkham Origins and Arkham Asylum for use on the Vita and 3DS, saving 80-90% or more on polygon count and reducing multiple texture sets to a single sheet while maintaining look.
• Created documentation for extremely low LOD creation (700 triangles, single 128x128 texture); managed contractors and integrated work.
Injustice: Gods Among Us - Vita
• Determined necessary character art asset specifications for specific platform, created and documented workflow to convert many complex high resolution meshes into nearly identical assets at tremendous performance and time savings. Oversaw and managed team of contractors using this process.
• Re-made the main character to an existing rig after and during art style changes.
• Created an articulating exo-suit model used by the above character.
• Created the game resolution mesh and textures for Luna, based off a model from PSYOP.
• Created and managed character and environment art assets for use in Unreal Engine 3.
• Managed contractors; improving, customizing, and integrating work into pipeline.
CLO Virtual fashion is a software company and the makers of Marvelous Deigner and CLO3D - industry leading programs for the digital creation of cloth garments. The potential for revolutionizing the creating of cloth within the game art I was creating sparked my interest and so while I was staying in Korea for a time I approached them and created a position for myself there. My role was to help bring further understanding of game and film pipelines and needs to them so that they could better adapt Marvelous Designer to these needs. As part of my time there I underwent their training certificate program and became Certified in the use of Marvelous Designer.
• Designed and created a character with multiple layers of clothing to illustrate integration of the Marvelous Designer software into modeling pipelines.
• Created detailed documents illuminating game and film studio workflows, roles, timelines, etc.
• Pointed out current and potential future strengths/weaknesses within these two industries in relation to the Marvelous Designer software development.
• Wrote and edited official announcements to alleviate community frustrations.
• Provided language services to assist in polishing the release of a new website.
Interpreted client's goals, orchestrating and producing a series of 13 animated shots revealing a breakthrough design through architectural and system visualizations. Took initiative to script, develop, and produce the visualizations with limited to no input from multiple large companies on the opposite coast and overseas. Researched and produced accurate to-scale models of various facility interior and exterior architectural systems. Modeled, textured, lit, animated, and rendered, and composited the finals shots, as well as other assets such as a fully rigged and semi-realistic insect character. In total used the art of computer animation to help unveil the production of the most advanced greenhouse system in the world.