Experience

• Senior Environment Artist III at Lightspeed LA

  Irvine, US

  December 2023 - Present

  Drove the tooling behind the citywide train network; a single functionally enormous asset carrying gameplay, systems, and art. Worked with tech art to arrive at an instancing solution that held at city scale while retaining deformable meshes. Directed and problem-solved alongside an artist at Lucid Games on rail infrastructure.
  
  Branched spline solution into a safety-tile system, co-developed with tech art, which the team used to propagate large amounts of iterable and variable content citywide.
  
  Produced all six bespoke Tokyo train stations, four of them massive, all with complex connected interiors and exteriors. Made every city bridge. Co-solved and produced three citywide expressways, one collapsed.
  

• Principal Artist at Avalon Corp

  April 2022 - Present

  Named and articulated the character art direction the project ran on; held the Art Director seat for three months, building morale and process until the hire came aboard, then co-directed on character art.
  
  Stood up the character pipeline and built assets for a real-time VTuber framework. Worked with outsource tech-anim. Co-designed and built the hero character and key giant-tree assets for a vertical-slice demo.
  
  Synthesized separate executive requests into a diegetic, interactive 3D website tied to a staged reveal.

• Lead Character Artist at Traega Entertainment

  Franklin

  September 2019 - April 2022

  Led character, environment, and animation simultaneously; built the main intro hub level, player craft, and a diegetic cockpit UI communicating roughly 20 discrete vehicle states entirely in-world.
  
  Produced articulating robotic hard-surface enemies and brought the rest of the roster in through outsourcing I established and directed.
  

• Artist at Bonfire Studios

  Irvine

  September 2019 - September 2020

  Focused on environment art needs at the early stages of an unannounced project.

• Senior Environment Artist at Santa Monica Studio

  Los Angeles

  March 2016 - September 2019

  God of War (2018)
  
  Owned and produced Tyr's Vault, a level dense with interactive treasure piles that had to serve gameplay and cinematics throughout. Made the shipped version of Kratos' house and its hero props, creatively leveraging locally-referenced materials in an area at the edge of its memory budget. Took initiative to produce the axe-freeze mechanic effects when VFX ran out of time. Made key gameplay hero props.

  God of War Ragnarök
  
  Generated 19 realm and gameplay pitches. Prototyped parts of early Niðavellir. Blocked out the first Thor fight's environmental scenarios with combat design. Authored the dwarven prop visual language guide. Created the wolf kennel assets. Ran an ice material study (opaque surfaces built to read as translucent) that doubled as performance profiling and produced concrete engine requests.
  

• Environment Artist at Illfonic

  Denver

  March 2014 - February 2016

  Revival
  
  Designed and built sprawling dark-fantasy player housing mansions across multiple architectural styles, plus the large-scale hero statuary that anchored it. Provided my own concept art on a very small team.

  Sonic Boom: Rise of Lyric
  
  Battle-mode art content and a complete hazard-course level.
  

• Character Artist at Armature Studio

  Austin

  November 2011 - March 2014

  Batman: Arkham Origins Blackgate
  
  Sole character artist on the full roster: 21 characters in roughly six months, delivered simultaneously across multiple resource-strapped handheld platforms. Self-authored pipeline to fit the timeline, producing characters which read well above the fidelity they were built for.

  Injustice: Gods Among Us
  
  Authored the workflow document the port was built against, specifying every step to bring the roster to 5-10% of source poly and texture budgets.

  ReCore
  
  Bilt a character with an articulating exo-suit. Made the in-game model of the protagonist, Joule.

  (Canceled project)
  
  Hero assets and environment art across third-person and isometric game expressions.
  

• Consultant/Character Artist at CLO Virtual Fashion

  Seoul, Korea (South)

  July 2013 - January 2014

  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.

• Independent Contractor - 3D Animation Generalist at Houweling's Hot House

  Sarasota

  January 2009 - April 2009

  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.