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'm currently working at Ubisoft Massive on the next-gen title Tom Clancy's The Division. My current role in the project is Environment Artist.
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.