During DLC for Gears of War 4 we release two maps a month for 12 months. It was an incredible journey working with a teams at The Coalition and across the water at Splash Damage, along with many outsourcers.
I was fortunate enough to direct each map, whether it was a recreation of a classic, re-imagining, or introducing a handful of new maps to the franchise.
During the production of Gears of War 4, I worked on both the single-player campaign and lead the multiplayer level art direction.
Part of my responsibilities included: Creating the initial concept and visual target for each map, delivering iterations of feedback and ideas to multiple groups, insuring designer goals are met while keeping to a visual target and performance target striving for 1080p at 60 fps.
Battlefield: Hardline was an especially interesting project to work on. I was a primary level artist on one episode and contributed to several others during my time at Visceral Games.
"Episode 3: Gator Bait" was the level I was primary for, which took the player to a small, open world within a remote location in the Florida everglades.
I was responsible for creating assets, establishing the tone and atmosphere, first pass world building on the massive swamp area, an abandoned sawmill and alligator farm, random locations of interest, a run down zip lining park, and a desolate aqua stadium outside of Miami.
Working with several artists, lighters, and engineers, we were able to bring this environment to life with a steady frame rate on the Xbox One and PS4.
The Bureau: Xcom Declassified
Working at 2k Marin was one of the best experiences in my career. The close collaboration between designer and artist was an amazing thing to be part of.
Working closely with a design partner, we got the opportunity to pitch several concepts for each level. Then, once an idea was chosen, gather reference, build block outs, and take that level from it's earliest inception to a shippable state.
It not only challenged me on a creative level, but also a management one as well, as we had to constantly communicate with visual effects, design, tech, audio, and every other department that were contributing to the map.
Splinter Cell: Conviction
On Splinter Cell: Conviction, I had the opportunity to work with several environment leads across multiple teams focusing on the out of bounds space for every map in the game.
It was an interesting learning experience; by having a tight budget and a heavily modified version of Unreal 2.5, I was able to develop my skills in painting skyboxs, constructing unique shaders, and a bit of vfx work.
Since the majority of the game took place in Washington D.C, it was awesome to be able to study the streets and locations in order to make them feel as accurate as possible.
Max Payne 3
Max Payne 3 was my first senior artist role that allowed me to expand my skill set and organization skills. I was a primary artist on two levels while supporting a variety of other areas in multiple maps. In this position my duties included modeling and texturing of all principle assets, reference gathering for incidental props sent to outsourcing, working with the art directors to create a lighting palette across all levels and setting them up with a first pass for lighting and atmospherics.
Turok on the Xbox 360 was my entry into the games industry and First Person Shooters. It was an amazing experience working in a new studio transitioning into multiple roles. Over the course of the project I was an environment modeler, world builder, and later Vehicle and Weapons modeler. My duties included modeling, texturing, high res scupts, and some minor concept work for various props.