I love how art can be such a powerful tool in communicating mechanics and deeper emotions in games. Fluidly bridging the gap between Artist & Designer, I enjoy working closely with team members to design impactful worlds for players and how to make them as interesting as possible.
This is a recreation of a set from the James Bond film Dr.No. This was created in Unreal Engine 4, with Maya, Substance painter/designer, Zbrush and Photoshop. All models/textures/lighting is done by me.
This was an exercise in high to low baking methods, and really drilling down on normal mapping workflows. Rendered in marmoset toolbag2. The target usage for this was as a first person weapon asset.
These are a collection of sets I made for the Dota2 Workshop. I really like the art style and gameplay of Dota2 and like collaborating with other talented artists on sets for the different heroes. All of the below sets were collaborations with a concept artist. I was responsible for all the models, textures, and skinning.
These items were my entry into Chivalry Workshop launch contest held in collaboration with Polycount. The developer chose my set as well as others from the entries to sell in their in-game storefront. Excellent concept by Pior Oberson
Modeled in maya, and textured using substance painter. I also setup materials in Unreal4 for paint color swap and different decals textures. This shot is rendered in Marmoset Toolbag2
These are some work in progress screenshots of a game i'm working on with Empty Clip Studios. I work closely with the creative director to develop the look and feel of the game, using their own proprietary tech, as well as help design game mechanics. Working remotely I must manage my own tasks and time efficiently. The first two shots are look development concepts I created using Unreal4, the last two shots are what's currently in the proprietary engine - Symphony Worlds Website
Took direction from Art Director and Creative Director. Worked closely with programmers to integrate art in engine. Worked closely with programmers on gameplay mechanics as well.
Working closely with the creative director and programmers to develop game mechanics and spaces that communicated the look and feel we wanted to present to the player. Being one of two level designer on Contrast, I worked closely with every member of the team. Both I and the other level designer had our hands on all parts of the game but I primarily helped develop the carousel area puzzle and the shadow theater segment. I was involved early on in Contrasts pre-production, helping build the demo that secured our funding for the project.