Website / Trailer
Tech Art
For Shadow of War, my main roles were skinning the orcs and all their varied accessories, asset integration/management/optimization, and working with the character art team to troubleshoot issues. Additionally, I had ownership over creating GPU cloth simulations for the characters. Originally, the tech was existing and proven, but not integrated into the larger art pipeline in any meaningful way, so I was asked to work with the original engineer to get it up and running. I also created documentation and did some tool scripting to help make the process more accessible to the artists later on.
Tech Art
For Shadow of War, my main roles were skinning the orcs and all their varied accessories, asset integration/management/optimization, and working with the character art team to troubleshoot issues. Additionally, I had ownership over creating GPU cloth simulations for the characters. Originally, the tech was existing and proven, but not integrated into the larger art pipeline in any meaningful way, so I was asked to work with the original engineer to get it up and running. I also created documentation and did some tool scripting to help make the process more accessible to the artists later on.
Website / Trailer
Lighting, UI/UX, and Tech Art
My main job on Wingman was as the lighting and UI/UI artist, though in practice I also worked a lot in engine importing and placing the other artist's assets and making sure they worked with the shaders. There wasn't a lot of storytelling necessary since the focus was on the cooperation and competition between the players, so the lighting approach was instead to maximize visibility and clarity while maintaining a good visual balance between the arenas and the backgrounds. I designed the first two passes on UI for the game, but later in development we brought on another UI/UX artist to design a new look, so I worked with him to help iterate on and integrate the new assets. In the meantime, I also collaborated with our game designer to create assets whenever a new function in the new UI needed to be tested in game. Additionally, whenever there was time or a need, I helped our environment artists create background props to help flesh out the arenas.
Lighting, UI/UX, and Tech Art
My main job on Wingman was as the lighting and UI/UI artist, though in practice I also worked a lot in engine importing and placing the other artist's assets and making sure they worked with the shaders. There wasn't a lot of storytelling necessary since the focus was on the cooperation and competition between the players, so the lighting approach was instead to maximize visibility and clarity while maintaining a good visual balance between the arenas and the backgrounds. I designed the first two passes on UI for the game, but later in development we brought on another UI/UX artist to design a new look, so I worked with him to help iterate on and integrate the new assets. In the meantime, I also collaborated with our game designer to create assets whenever a new function in the new UI needed to be tested in game. Additionally, whenever there was time or a need, I helped our environment artists create background props to help flesh out the arenas.
Lighting, Modeling, and Tech Art
As Luminae was a project that was heavily focused on light both visually and mechanically, my role as a lighting artist was a little more critical that usual. Since the story was about the life cycle of a goddess, the focus was to create a sense of awe and grandeur, particularly when it came to the stained glass windows. The windows themselves also created a unique challenge, since if we weren't careful the character could become visually lost in front of them. In addition to lights, I also worked heavily with Unity's post-processing effects, in particular to create the "godray" effect filtering through the glass. Alongside that, I also helped with creating environment assets and modeling the main character, as well as importing and placing all art assets in engine.
As Luminae was a project that was heavily focused on light both visually and mechanically, my role as a lighting artist was a little more critical that usual. Since the story was about the life cycle of a goddess, the focus was to create a sense of awe and grandeur, particularly when it came to the stained glass windows. The windows themselves also created a unique challenge, since if we weren't careful the character could become visually lost in front of them. In addition to lights, I also worked heavily with Unity's post-processing effects, in particular to create the "godray" effect filtering through the glass. Alongside that, I also helped with creating environment assets and modeling the main character, as well as importing and placing all art assets in engine.
Spring 2014 with Frederic Durand
A 10 week course focused on lighting, specifically working in Maya for the exercises, but also covering theory and principles that could be applied in any program or media. Each week focused on a different aspect of lighting, starting from the basics such as the different types of lights and shadows, and moved on to more complex topics including other areas that lighting artist are often expected to know such as shaders and compositing.
A 10 week course focused on lighting, specifically working in Maya for the exercises, but also covering theory and principles that could be applied in any program or media. Each week focused on a different aspect of lighting, starting from the basics such as the different types of lights and shadows, and moved on to more complex topics including other areas that lighting artist are often expected to know such as shaders and compositing.