DATE :2012 - Current
POSITION: Senior Environment Artist + World Builder + R&D + Layout/Pre-viz
PLATFORMS: MMO Free to Play
SOFTWARE: 3ds Max, ZBrush,Cry Engine, PS, Crazy Bump, XNormal, Ndo/Ddo, Simplygon
On MechWarrior Online, I had the opportunity to dwell into a variety of different disciplines. Below is a quick summary of my role:
- The Art Director [AD] would usually assign me a series of visual targets of what the levels would be like.
- I would take those VTAR, study it, and start looking for more real-life reference images aside from the ones given.
- Once the Level Designers [LD] are happy with their layout, I would take over and begin my initial terrain painting R&D , which usually include terrain sculpting, developing my terrain detail textures, and color schemes. This would just be applied in a small area to get approved by the AD.
- Terrain painting would usually go hand-in-hand with me modelling and texturing a variety of objects to go in the level as well. We try to re-use as much existing assets as possible, but often times, new assets just need to be created from scratch to suit the new level.
- Once I have all the new objects/vegetations/waterplanes/props, etc. created, I usually have between 2-3 weeks at most to place them and finish the beautification process.
- I then have another week for doing collision check, optimizing assets, final tweaks, etc. before the level would go on to QA for testing.
If they plan on creating a level or environment-related objects that we've never done before, I usually have to work with the AD, animator, VFX, and technical artist to perform some R&D before we commit too much into the project. Lately, I'm responsible more and more with even creating initial layouts to help the AD visualize better what the end product would look like. Below are a few screenshots that I took from the game.
-New- Polar Highlands
POSITION: Environment & Vehicle Artist + World Builder + R&D
SOFTWARE: 3ds Max, Unreal 4, PS, Crazy Bump, XNormal, Ndo/Ddo
The launch video for Transverse was done using Unreal 4, which is the first time that I had to work with PBR lighting. The short amount of time that we had to finish the video didn't allow for an in-depth R&D with the engine and the new lighting method. Nonetheless, we were able to work as a team to produce and ship a pretty good looking end-product, in my opinion. Not to mention the opportunity to work on something different than what I normally do as an environment artist, which in this case, making cool-looking spaceships.
Below is a quick summary of the ship-making process:
- I would have a sit-down w/ the concept artist and the AD to go over the initial concept of the ship design
- I would then block-out the ship to establish scale and silhouette. This usually takes from 1-2 days, depending on the type of ship
- Screenshots are taken from the initial greyblock, discussed, and the concept artist will go back revising his concepts
- Revisions will then be applied to the initial greyblock until the AD and designers are happy with the scale, shape, and functionality of the ship
- Low-poly modelling starts, then ship back to AD for approval once finished
- Once approved, high-poly modelling starts with all the details and bells and whistles added. Due to the time constrain, only the big details were modeled for all the ships in this video. At this point, the animator usually can start his rigging and animation.
- Laying out the UV is what follows after.
- The smaller details and panel lines were then added through the normal map by using Ndo.
- All of the textures are made tileable, with the exception of the normal map for the panelling
- Decals and grunge are added on top as final touches before the asset is handed over to FX.
The construction of the interior was pretty straight-forward. I did the layout inside of max and then bring all the finished assets and rebuild the level in Unreal. I did pretty much 95% of all the assets for the interior with the exception of lighting and FX, and with very little supervision. I just had to keep the AD informed with the daily updates to let him know that I'm still on schedule and within the visual target established by the concept artist. From initial layout to finished interior is about 1.5 months.
Transverse is an unreleased game that due to unfortunate circumstances has been put on the back burner.
Dusty's Bar Interior
POSITION: Texture Artist
PLATFORMS: Xbox 360, PS3, PC
SOFTWARE: 3ds Max, Unreal Engine 3, PS
After we were done working on Duke Nukem, we managed to offer our help on helping out on Borderlands 2 for a very short time period. It was quite a fun experience and rather a challenging one where we had to learn their style guides to achieve the hand-painted look. I was mainly responsible for creating the textures and materials for untextured buildings, as well as improving other textures already created should they need it.
DATE: 2010 - 2011
POSITION: Environment Artist + World Builder
PLATFORMS: Xbox 360, PS3, PC (Steam)
SOFTWARE: 3ds Max, PS, Unreal 1.5, ZBrush, Crazy Bump, XNormal, Headus UV Layout
On Duke Nukem: Forever, I was mainly responsible for modelling and texturing environment assets such as buildings, statues, and props. I was also tasked with creating a more organic model of the "Boob Monster" for the Hooverdamned level, which is massive in size and somewhat "unique" in shape.
The opportunity where I can uze Zbrush is usually very limited, but here, I had the opportunity to use ZBrush to sculpt the Boob Monster, the Statue of LePartay, and Duke's arm chair in My Digs. Duke's My Digs was originally very empty, which I had given the freedom of furnishing the level to give it a more upscale feeling. My role as a world builder started here, where I modeled, textured, place and build the levels to match the Art Director's visual target.
HAIL TO THE KING [DLC PACKAGE]
After we completed work on Duke Nukem Forever, we continued the journey onto the Downloadable Content. Ambushed with such aggressive timeline and limited resources, I had the opportunity to get my hands more into "arting up" the level Biohazard, aside from modelling and texturing a variety of art assets that go into the level. Working closely with the Art Director, I was able to take his vision and combined it with my creativity to make the level feels like a nuclear plant.
On Mech Warrior launch video in 2009, I was responsible for about 80% of all the buildings shown in the video, from their clean state to damaged state. Never before that I was heavily tasked on making such variety of damaged assets, from lightly damaged buildings, to heavily blown up buildings, to massive crater holes on the streets, to debris and broken concrete piles, to damaged cars only to mention a few. I was also responsible for fixing and "jazzing up" many buildings that were deemed "not good enough".
Below is Mech Warrior Trailer Video that was released in 2009.
DATE: 2008 - 2009
POSITION: Environment Artist
PLATFORMS: Xbox 360, PS3, PC
SOFTWARE: 3ds Max, Photoshop, CrazyBump
On Transformers, I was responsible for modelling and texturing a variety of buildings and props: ranging from urban-style buildings, to broken pillars and rock walls, to massive landmark buildings that define the theme of the levels. I was also responsible in performing quality assurance on other artist's works, optimize the assets as needed, and sometimes even re-do the asset if the quality is deemed not good enough.
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