This is one of the projects I've been working on. My own interpretation of Konoha Village from Naruto. I wanted to go out of my comfort-zone and try something that I've never done before. A more cartoony and stylized Art-Direction with bold colors and little visual noise.
I wanted to give it a feel of what it would be like to mix low-poly meshes with powerful and modern shaders and post-processing. Kind-of like the Wind Waker re-make.
Building-designs, symbols and props are inspired by the Naruto Animé & Naruto Games.
It's made using Autodesk Maya, Photoshop, nDo2 and UDK (Unreal Engine 3).
This is my self-titled "Pinus-Project", which basically was me learning CryEngine3 and making some pine/spruce-trees. I wanted to get into World Machine as well and create a big and natural landscape.
I never ended up finish it completely though but I have some decent shots of WIPs that I can show off here on my portfolio.
FEATURED on QUIXEL Website
FEATURED in ND2 Article (p.146) in VERTEX Magzine:
Fantasy City was my big new project to learn UDK properly and get more knowledgeable about the node-based shader network. Mainly to grasp a high-level understanding of shaders and what could be possible with them.
I've been part of Tom Clancy's The Division since its conception and worked on the game since before the first reveal of the game back in 2013.
I was mainly part of the Environment Art team. However after the game and team grew , the Environment Art team was divided into two parts, Missions and Open World. I was part of the mission team, however during development I also spent a lot of time helping out the Open World team, propping and dressing our version of NYC. I've worked on a lot of minor locations but here I thought I'd focus on the main things I've worked on.
I mainly worked on: Madison Square Garden, Hudson Yards - Trainyard, Brooklyn Police Station, Time Square together with Jill Ralmark, Adam Olsson, Mathew O'Halloran and Chad Chatterton.
My duties were mainly to work closely with Level Designers and Art Leads/Directors to create the look of New York and in the case of missions to create interesting locations for game-play.
The work would usually involve working with level designers to create the spaces the mission would take place in, researching and gathering reference for the look that was set by Art Direction, then proceeding to plan all the props we might need for the mission, creating blockouts, writing briefs for the prop art team to be able to finalize the props. Working on colors, shapes, composition and iterating on the mission until it was approved visually and technically.
Main Software used:
3D Studio Max, Maya, Modo, Photoshop, Substance Designer/Painter, SnowDrop Editor.
My main responsibilites as a level artist for the FC3 CO-OP campaign was to be responsible for the general look and feel of the levels, bringing them from blockout to full working levels together with prop artists and level designers.
Specific responsibilities includes:
The shaping and texturing of the terrain.
The placement of props, buildings, trees, bushes, rocks etc.
Bringing it all together for beautiful key-shot locations in every part of the level.
Making sure the level ran at the target frame-rate. Helping out designers to make sure we had proper occlusion and following basic culling principles.
FC3 COOP had no assigned lighting artist so the responsibility was placed on each Environment Artist to light their own levels. All lights and (at times lightmaps) were placed and created by me.
In all I was responsible for three levels of the co-op campaign including the DLC. Though there were times I had to help out on other levels, but in game-development everybody has a hand in everything.
My first job in the industry was with Evolution Studios and the PS3 exclusive game "Motorstorm Apocalypse".
My main responsibilites were those of a junior artist. Lodding, optimizing, creating textures and props for use in the levels. At times I would get the chance to do some actual world modelling which was usually creating roads or terrain for the certain levels.
Whilst working over at Sony Liverpool as a contract artist, I was briefly working on Wipeout 2048 (4 months) for the PS-Vita.
My main responsibilities was to model props and optimize assets with the PS-vita in mind. Later on I was also instructed to bring some levels from Wipeout HD / FURY to the PS-vita platform which meant optimizing a PS3-level graphics to Handheld format.
Doing this I worked with several of the original Wipeout HD/Fury tracks.