Senior Artist - World Builder on Visceral Games New Star Wars title.
Visceral Games
January 2016 - October 2017
Redwood Shores
Worked with the amazing team at Visceral, using Frostbite 3 to create breathtaking worlds.
I was the World Builder responsible for creating a beloved spaceport in the Star Wars universe.
I collected and utilized a lot of references to create a large scale, authentic, architectural kit that ensured game-play metrics and aesthetics were married as closely as possible.
I created several rapid prototypes to generate constructive dialogues and produce timely feedback loops.
Worked closely with designers and technical artist to ensure narrative and performance during heavy action sequences. I was responsible for maintaining GPU performance and making the required changes to content to ensure higher performance without sacrificing quality. I analyzed and processed designer geometry into clean normalized assets without disturbing established gameplay. I produced concept art, proxy geo, reference imagery and direction for internal partners. Worked closely with systems team to create and maintain in engine metric guides. I mentored new artists on the team.
Senior Artist- World Builder Battlefield Hardline Premium
Visceral Games
January 2015 - January 2016
Redwood Shores
-Black Friday-
Worked closely with design to create AAA photo-realistic multiplayer map running at 60 fps.
Kit-bashed and modified existing content to create large scale map under tight deadlines.
I rapidly created and integrated changes to layout from the daily play-test feedback.
Modeled, textured, implemented high fidelity environmental content.
Set up destructible assets and worked closely with other artist to ensure quality.
I was responsible for maintaining GPU performance and making the required changes to content to ensure the highest possible performance without sacrificing quality.
-Train Dodge-
I was responsible for all aspects of preproduction: virtual location scouting, reference gathering, art direction, terrain generation (Not final shading).
-Precinct-
I was brought in to stabilize a rouge production, I very quickly brought several areas of the map to final art. I mentored several artists and reestablished essential moral. Worked closely with other disciplines to ensure high quality aesthetics and performance. I shared the world building responsibilities with Hunter Hazen, together we brought the map to final.
-Alcatraz-
Worked closely with design to create AAA photo-realistic multiplayer map based on a real world location while running at 60 fps. I rapidly created and integrated changes to layout from daily playtest feedback. Modeled, textured, implemented high fidelity environment content.
I was responsible for all aspects of preproduction: multiple trips on location for reference gathering, art direction, terrain generation and painting (Not final shading).
Oversaw small team of artists and mentored jr. artists during a very tight production cycle.
I rapidly created and integrated changes to layout from daily playtest feedback.
World Builder Battlefield Hardline
Visceral Games
January 2014 - January 2015
Redwood Shores
-Battlefield Hardline - Ep. 9: Independence Day-
Worked closely with design to create AAA photo-realistic single player map running at 60 fps.
I was responsible for all aspects of construction: reference gathering, world art direction, converting designer block mesh to proxies and final art. Coordinated a team of nine artists during production.
Worked closely with Animation and Vfx for the Heist epic action moment sequence.
Was responsible for maintaining Gpu performance while pushing a high level of destructible environmental assets as well as huge vista while inside of a skyscraper.
Modeled, textured, implemented high fidelity environmental content.
Debugged and fixed all variety of issues: streaming, performance, collision, enlighten, occlusion and PBR.
Found reference imagery/ footage and created visual summaries for internal partners.
Collaborated with technical artists and helped to establish efficient tools and pipelines.
-Battlefield Hardline- Ep 2: Checking out-
I built a large scale modular highly optimized vista building kit to recreate the Miami skyline.
I composed the vista buildings for the roof pool chase sequence and bridge chase sequences.
In the lobby shootout and escape sequences I was responsible for maintaining Gpu performance and making the required changes to content to ensure the highest possible performance without sacrificing quality.
Debugged and fixed all variety of issues: streaming, performance, collision, enlighten, occlusion and PBR.
Senior Environment Artist
Volition
November 2011 - December 2013
SAINTS ROW 4
Sr. Environment Artist, Volition-inc
Modeled, textured, and set dressed several levels.
Worked closely with design and programming to create rapid gameplay prototypes.
Collaborated with tools programmers and technical artists to refine existing content pipelines and test new tools and techniques.
Participated in mission meetings: discussions, brainstorming, and planning.
Worked with Next-Gen Core Technology Assessment Strike Team.
Debugged graphical anomalies and researched methods to improve material fidelity.
Collected reference imagery and mood-establishing concepts for discussions.
Mentored artists in using Z Brush and established and conducted a weekly ZBrush class at the studio.
Environment Artist 3
Deep Silver Volition
March 2011 - November 2011
SAINTS ROW THE THIRD
Modeled, textured, and set dressed several interiors throughout the city.
Worked closely with the art director to finalize the environmental designs.
Created a modular set of art assets and props for Professor Genki activity levels.
Created and adjusted technical meshes to account for interior streaming.
Finalized and integrated outsourced assets into polished levels.
Created various props, materials, and textures.
Collaborated with technical artists and helped establish efficient tools and pipelines.
Mentored artists in using 3D Studio Max, and Z Brush.
Debugged: collision proxies, static meshes, animated meshes, shadow proxies, climbing splines, streaming volumes, and interior volumes.
Collected reference imagery and mood-establishing concepts for discussions.
Used proprietary technology to integrate geometry and materials into the game engine.
RED FACTION ARMAGEDDON
Deep Silver Volition
September 2008 - March 2011
Created completely destructible structures with physically accurate materials.
Designed, tested, and iterated on realistic load-bearing structures and frameworks.
Created high and low poly assets and baked maps to generate high-fidelity materials.
Worked with designers to prototype destruction-focused gameplay.
Worked with technical artists to create new tools and a massive asset tracking system.
Met regularly with directors to show updates and discuss the content progress.
Collaborated with the art director and assistant art director on concept art.
Helped other artists debug fragmentation process and export destructible assets.
Used proprietary technology to integrate geometry and materials into the game engine.
Optimized geometry and shaders to improve frame rate.
Participated in mission meetings: discussions, brainstorming, and planning.
Environment Artist
Deep Silver Volition
October 2007 - August 2008
Saints Row 2
My first game out of school.
Responsible for multiple districts of the city.
Modeled, textured, and set dressed several areas in the city and several interiors.
Mentored artists in using 3D Studio Max.
Created a modular set of art assets for the sewer environment.
Managed asset memory and streaming in a massive open world.
Adjusted and polished outsourced content to final art.
Debugged: collision proxies, static meshes, shadow proxies, climbing splines, lods, and zone swaps.
