Summary

Working in games, especially as an artist, has always been a goal of mine since before I attended college to pursue it as a career. It wasn’t until I’ve seen the talent behind the games created that an idea can become a reality, through drive and dedication. Knowing how they’re developed has changed my perspective in creating art for games, but the end result has always been an enjoyable and learning experience.

My initial start in animation and switch to environment art has been a smooth transition, but has challenged me to constantly learn new programs and techniques. I feel that my knowledge in environment art, and background in animation, gives me an advantage to be much more versatile in game projects but also collaborative. In a field that constantly evolves, there’s always room to improve, and focusing on environment art has helped tremendously in creating art and becoming a better artist.

 

Software Knowledge

Maya (6 years)
Max (1+ year)
Photoshop (7 years)
ZBrush (5 years)
Unreal Engine (2 years)
Unity Engine (2+ months)
nDo/dDo (2 years)
Knald (1 year)
Bitmap2Material (4+ months)
CrazyBump (4 years)
xNormal (2+ years)
Substance Designer (6+ months)
Substance Painter (6+ months)
Marmoset Toolbag 1 & 2 (2+ years)
Headus UV Layout (2 years)
Topogun (6+ months)

Skills & Experience

Modeling (6 years)
Hard-Surface Modeling (4+ years)
Soft/Organic Modeling (2+ years)
Sculpting (2+ years)
UV unwrapping (6 years)
Animation (1+ years)
Illustration (2+ years)
3D/2D Painting (2+ years)
Texturing (6 years)
Rendering (2+ years)
Particle FX (1+ month)
Compositing (4 years)
QA Testing (1 year)
Graphic Design (2 years)

 

 

 


 

Indoor Courtyard | UE4

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This is an indoor courtyard scene done in UE4. It’s based off of an image scanned from a book about interior design. Reference Image

The concept and early process started in August 2013. Over the months, I started creating a few of the assets, mainly sculpting the wooden door and brick wall in ZBrush. Through different attempts of blocking out the scene in UDK or Marmoset Toolbag 2 (as a diorama), I ended up using Unreal Engine 4 when it was released in March 2014. Throughout March to early May 2014, I started learning about Unreal Engine 4, Substance Designer and Substance Painter, and began working in physically-based rendering.

Software Used:
Maya, ZBrush, Photoshop, xNormal, nDo2, Knald, Substance Designer, Substance Painter, Marmoset Toolbag 2, UE4

 

Witch’s Hut | UE4

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This is a cartoon style cutaway scene originally for an art challenge, based off of an isometric concept image.  Through most of July 2014, I created the scene that would originally be rendered in Maya and brought it to Unreal Engine 4. It’s not using physical-based rendering, it’s using only the diffuse textures. I heavily used Substance Painter and Photoshop to texture the assets and create tileable textures. I used ZBrush to sculpt higher detail and used xNormal & Knald to create additional AO and Normal passes, using the normal maps only as a guide to paint in Substance Painter. UV mapped in mostly Headus UV Layout, and Maya.

Software Used:
Maya, ZBrush, Heads UV Layout, Knald, xNormal, Substance Painter, Unreal Engine 4, Marmoset Toolbag 2

 

Underground Corridor | UDK

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This is a Sci-Fi hallway connecting through a tunnel, done in UDK. The original concept idea was a tunnel leading to a back entrance of a facility underground. This was done in Oct 2012 – February 2013. It was inspired by levels from Star Wars: Force Unleashed, previous work done with XstreamTech/Virtus Studios for the Network title, and several sci-fi themed games. The scene was also inspired the workshops attended at AI in San Diego in 2012, both focusing on environment art and high-poly/low-poly modeling.

Software Used:
Maya, ZBrush, Photoshop, xNormal, nDo2, CrazyBump, Marmoset Toolbag 1, UDK