I specialize in art direction, visual development and problem solving. With a career spanning 18 years and 3 console generations, I am used to adapting to whatever challenges arise.
I have worked for game powerhouses such as Microsoft and Ubisoft, and I have also helped take small startups to success. I am a versatile artist, with a skill set ranging from concepting and illustration, to modeling and texturing, to branding and marketing.
I consider mentoring and team building to be vital parts of my job. My goal is not only to deliver the most stunning visual experiences, but also to help artists realize their full potential.
I was art director on an unannounced prototype project. I was in charge of leading a small team and defining the style and setting the quality bar through the creation of concept art and mood boards, while also supporting the prototype with temporary art to help sell the gameplay.
Unfortunately the project was cancelled.
I worked for a number of game studios, but most of my time during this period was spent in Chengdu, China, working with Viking Games on their first western project. As art director, I was in charge of setting the style and quality bar, creating concepts and models, and leading the art team through pre-production.
I was brought in to build and lead an art department which helped create three highly successful games in just three years; Zombie Gunship Survival, Zombie Gunship Revenant (AR) and Zombie Gunship Raptor (VR). Working with a small, talented team afforded me the chance to be hands-on in every aspect of the art process, from setting up pipelines to building game assets, to creating marketing and branding materials.
As an art director on the Node team, I worked with Ubisoft studios across the world, helping to ship some of the flagship titles, including The Division and Ghost Recon: Wildlands. I led teams of internal and external artists to create huge volumes of characters, environments and props, while maintaining the high quality bar and unique art style of each game.
Duties included overseeing the concept and modeling efforts on Dust 514, unifying the look of existing assets, setting up mood boards and visual design documents, and maintaining quality in the production pipeline. I worked with both Chinese and western artists, and communicated with all relevant departments. While the title I was credited with was Associate Art Director, a better description would be Interim Art Director, as I was the sole art director for a time while we searched for someone willing to stay in Shanghai. I dealt with particle effects, lighting, animations, and UI in addition to modeling.
World of Darkness
Duties include establishing the look and feel of characters, working with tech art to develop the player-facing character creation experience, and developing an outsourcing pipeline for character art.
Eve Online: Incarna
Duties included setting up the unified character pipeline used for multiple projects, setting the look and feel across multiple projects, creating an outsourcing pipeline that produces high quality results, training
and mentoring junior artists, enforcing quality for everything character related including: lighting, animation, etc. This was both a lead and art director role.