Unannounced Project

Lead Technical Artist, Wargaming Seattle

As the Lead Technical Artist, I direct a small, multi-national team of tech artists as part of the engineering department. I am one of the primary drivers of graphics development and improvements for Wargaming Seattle's internal game engine. In addition, I handle many of the day-to-day technical art duties, as well as a large part of the communication between art and engineering.

In particular, some of my primary focuses have been upgrading the game engine to Physically Based Rendering (physically based shading & lighting, photometric units and metering, HDRI light probes & cubemaps, etc.) as well as helping define the next generation pipelines, workflows and best practices needed for current AAA projects. This includes researching and developing the studio’s photogrammetry, 3d scanning and material acquisition workflows & techniques. I am also the primary in-house HLSL shader developer.

Forza Motorsport 5 (Xbox One)

Track Artist, Turn 10 Studios/Microsoft (on contract with Aquent)

For the first half of my tenure at Turn 10, I was a track artist on "Forza Motorsport 5", working mainly on the "Le Mans" track. I modeled and textured 3D assets including the Ferris Wheel, the Welcome Center building, the pit wall, Plexiglas shields, and the Rollex pit arches among others. I also modeled, textured and placed most of the trees in the forest areas and the tree walls in the distance.

Halfway through my tenure at Turn 10, I was promoted to the internal track lead for the "Silverstone" track. I primarily worked with an outsourcing company to ensure quality and timely delivery, as well as performance and final polish.

While on Forza 5, I especially enjoyed working with laser scanned point cloud data for realistic environment re-creation and working with one of the first implementations of Physically Based Shading and Rendering on the Xbox One.

All other art, unless specifically noted above or in the individual image notes is the work of others.

Guardians of Middle Earth (XBLA, PSN)

Staff Artist - World/Lighting, Warner Bros. Games

On "Guardians of Middle Earth" I was responsible for creating compelling and cutting edge lighting solutions that conformed to strict performance and memory budgets as well as created passive environmental effects such as fogs, volumetric lights and sprite based lighting effects. I performed final polish on environment art, textures and environmental effects.

I also worked closely with the Art Director, department leads and technical staff to develop and implement the look of the game through advanced lighting and post processing techniques. I provided feedback and suggestions in the continued development of next generation tools, pipelines and workflows.

All other art, unless specifically noted above or in the individual image notes is the work of others.

In addition to the lighting and post work, I also contributed art assets to the map room. I am responsible for about 75% of the final map (originally sculpted in Zbrush by someone else, but it was completely reworked in the final version), the chairs, the glass "bottle", the cup, the books, the parchments, the bowl and pipe and the stacks of cards.

Lord of the Rings: War in the North (XBox360, PS3, PC)

Lead Environment Artist, Snowblind Studios/WB Games

On "Lord of the Rings: War in the North", I managed a team of 17 artists in the creation of high quality, AAA environments. I collaborated closely with the Art Director and Technical Art Director to define the style, best practices and workflows for the team. I also worked closely with the engineering staff to develop the tools and pipelines of WB Games’ next generation game engine.

I was one of the primary drivers for defining and maintaining artistic standards and technical requirements, providing art direction, feedback and mentorship to the art team. I also participated in the hiring of Artists, the Art Director and the Art Development Director for the studio.

My art contributions were limited mostly to terrain blocking, sky domes, shaders, some texture creation, level assembly and performance optimizations. On this project, I gained extensive experience in the creation of complex & optimized shaders in a node based editor. I was also the Principal Lighting Artist for all environments and in-game cinematics.

All other art, unless specifically noted above or in the individual image notes is the work of others.

For Carn Dum, the final level in the game, I modeled, textured and animated a complex cloud system for the skydome, including a massive funnel cloud that had to stand up to scrutiny from multiple angles.

Death Tank (XBLA)

Senior Artist, Snowblind Studios

I came on to Death Tank late in development. My contributions included generating last minute game assets, real-time effects, UI elements and polishing the game to a shipping state. I was also responsible for all marketing assets used for advertising and the XBox Live Dashboard (NXE).

The logo I made for the game:

The Death Tank Skull is the game's unnamed, fiery eyed mascot. This image is a multi-pass render composite that was used on the website and advertising.

The digital "box" art:

A composite image used as the background for the game's XBLA page:

Aftermath (XBox360, PS3, PC)

Lead Environment Artist, Snowblind Studios 

I led and managed a team of six artist in the creation of high quality environments and props for Aftermath, a post-apocalyptic game based in Seattle. The game was green-lit into production, but was eventually canceled in favor of  "Lord of the Rings: War in the North".

I am responsible for roughly 50% of the buildings and streets, as well as the lighting, level assembly and optimization, and the skydome.

All other art, unless specifically noted above or in the individual image notes is the work of others.