My most recent credit as an Environment Artist is for the upcoming DOOM. I'm not able to post any work publicly at this moment but it's visible in the trailer below. For this project I used Modo, Quixel Suite, Zbrush, and idTech 6.
Here's footage of the map Infernal from a recent closed beta.
I worked on Halo 2: Anniversary multiplayer which was part of Halo: The Master Chief Collection. Working on this project was very inspiring for me. I was a big fan of Halo 2 upon its original release and was given a lot of personal design freedom to interpret and update the art. For this project I learned Maya as well as the proprietary Halo engine.
I was fortunate to have worked on Middle-earth: Shadow of Mordor as an Environment Artist. This was an amazing project. Getting to work on a large open world game provided a lot of interesting challenges. I created textures, assets, and worked on a lot of optimization (LODs, Shadow Geo, Geo cleanup, etc), as well as set dressing. Shadow of Mordor would go on to receive huge acclaim and many Game Of The Year awards. 3ds Max, Quixel Suite, Zbrush, and Monolith's proprietary lithtech engine were used on this project.
I made this sculptural piece based on concept art. Here's the top portion.
The bottom portion.
Here's a shot of the high poly Zbrush work. I started by getting a base charater mesh from the Character team, as well as the armor for the Guard. I then posed all figures and added all clothes and chains based on provided concept art.
I refined this building's textures, optimization, and silhouette. This building wasn't originally meant to be climbed on, and I worked with designers and added the roof logs to be movement compliant with the character.
I did a lot of optimization in this area, including crearting proxy shadow geo for the entire zone
I did a lot of geo refinemnt in this area, created tiling textures in Zbrush, painted texutre blends, and movement design.
Here's a close-up of that area. I created movement patterns for the character by strategic stone placement on various buildings.
Lots of optimization and prop creation (using existing tiling textures) for this area (fences, docks, etc).
Another shot of the docks.
I worked as an Environment Artist at BioWare on Star Wars: The Old Republic for over four years. My main responsibilities included world building, modeling, texturing, outsource supervision, optimization, and lighting. It was a fantastic opportunity to work alongside amazing artists, designers, programmers, and writers, not to mention fulfill a childhood dream of being involved in creating a small piece of the Star Wars Universe! Below is a selection of work I accomplished while working on The Old Republic.
My roles on Taris included terrain sculpting, modeling, texture painting, asset outsourcing, interior visual design, interior propping, interior lighting, and optimization.
Above is a pirate stronghold. I wanted these interiors to feel dank and dusty and evoke the feeling of being inside an old cellar. By using a lot of warm tones in the fog and lighting and by hanging tarps from the ceilings, I was able to give these areas a unique feeling and made them stand out from the traditional color schemes associated with the Repubic and Imperial factions.
This room was a one day task. The cinematic it was used in called for a small archive of people who had been frozen in carbonite. I did all propping, lighting, and visual design.
Above is another room that was a one day task. This room was set up as a remote, small laboratory that had to accommodate conversations, cinematics, and combat. I did all propping, lighting, and visual design.
Above is a shot of The Endar Spire, a ship from Knights of the Old Republic that was shot down by Darth Malak. The ships's structure remained largely intact after the attack and it crashed on the surface of Taris. Players get the chance to revisit the ship's ruins in The Old Republic. As with the pirate dungeons, I was responsible for all visual design, lighting, and propping of the entire Endar Spire.
My main duties on Belsavis included a very large amount of terrain sculpting, exterior propping, modeling, texture painting, asset outsourcing supervision, the visual design and implementation (lighting and propping) of dozens of interiors, and optimization.
Color was something we wanted to emphasize on Belsavis to make it unique. We used coral reef references for color choices. To give the impression of water, the planet's fog was given a rich, saturated blue. The exterior foliage and environment props were given secondary colors to evoke coral and marine life.
Above is a hallway of an ancient Rakata vault. I was in charge of supervising the entire production of the Rakata modular architecture set as well as the entire Rakata prop set. I came up with multiple lighting schemes as well as the initial prototype dungeons that would later be heavily featured in the planet. It was a great opportunity to continue with what was established in Knights of the Old Republic.
The vast majority of assets in The Old Republic were made using an outsourcing pipeline with internal supervision, modifications, and refinement. I oversaw the creation of dozens of assets ranging from modular sets to props. In an effort to keep up my modeling skills, I took on the entire creation of a neutral faction ship that I thought had an interesting design.
I grabbed as many opportunities as I could to work on and build models during the production of The Old Republic. As the majority of assets were built through outsourcing, I made my own opportunities to keep active in asset creation and production techniques. This ship was done in my spare time.
The ship's concept art didn't flesh out the back engine's guts, which provided me with a fantastic opportunity to incorporate my own designs.
A breakdown of the ship asset.
The Old Republic's production spanned many years and several stylistic shifts along the way. During that time, some older assets began to look out of place and dated. I took it upon myself to redesign and improve a few small props. This gun rack was reworked in about a day. It was already heavily placed throughout the game, so I was unable to change the dimensions and texture resolution. My focus was to update the asset and match the established style of the game.
This piece was inspired by my love of the film Alien. I wanted to make a UDK Sci-Fi interior that wasn’t the standard hallway, but rather something more like an alcove one could find aboard The Nostromo. There's a certain charm to the now antiquated computer terminals used in the film that I wanted to reference in this scene. This piece was created with 3ds Max, Photoshop, dDo, and UDK.
High Poly work for the Sci-Fi Room. I designed and modeled this texture to create most of the room's shell pieces as well as modular props. From this High Poly work I baked a 2048x1024 Normal Map and Color/Selection Map. I then used dDo to get a texture base, and refined the textures using various photo sources and layer masks.
Here's the final modular tiling texture set.
To break up the Greeble section of the tiling texture set, I designed and created the above pieces to add to the wall sections.
This Victorian house was made with UDK, 3ds Max, Photoshop, and dDo.
My goal and motivation behind this project was to learn UDK and create an asset which was in a style more in-line with current gen console games. After working on a PC MMO for four years, I wanted to expand my skillset in both a technical and stylistic sense.
This scene was made with 3ds Max, Photoshop, dDo, World Machine, and UDK.
Final triangle count was 18.5k. The asset was made with six 512x512 tiling textures, two trim texture sets (1024x512 and a 512x512) and two sets of unique textures, one 1024x1024 for windows and a 2048x2048 for the remainder of unique components.
I wanted to do something a bit more grungy and down to Earth in this scene. I focused on experimenting with making various pipes out of tiling textures and working with decals in UDK as well.
This scene was made with 3ds Max, Photoshop, Zbrush, dDo, and UDK.