Red Vs. Blue Season 12

After production on the latest volume of RWBY ended, Rooster Teeth gave me the chance to continue  as Environment Artist for their flagship machinima series Red vs. Blue, the longest running web series in history. My tasks include:

  • High polygon modeling and their respective low poly, game-ready versions in Maya.
  • Generation of texture maps from high polygon models
  • Texture and shader creation
  • Lighting completed sets
  • Overall, replicating the texturing, sci-fi architecture, and polygon count of the X-Box 360 version of Halo 4

The following are a few screenshots from aired episodes that I’ve worked on in season 12:

More screenshots to come in the next few weeks, as the environments that I contributed continue airing on further episodes.

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RWBY

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RWBY is Rooster Teeth Production’s new, original animated series. This anime is produced entirely in Austin, TX and was created by veteran animator Monty Oum. As an environment artist I model and unwrap the sets and props, as well as create the stylized, hand-painted texture work that goes along with them.

I have contributed to volume 1 and volume 2, and you can see all available episodes on the Rooster Teeth website.

The following is a sample of some stages I modeled and textured:

*Characters shown were modeled and textured by Tim Reed 

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Disney Epic Mickey 2: The Power of 2

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I had the great privilege of working with Junction Point Studios as an Environment Artist, helping in the completion of the multi-platform release Disney Epic Mickey 2: The Power of 2. I was appointed to work on one specific level called “Blot Alley”, fashioned after Disneyland’s New Orleans Square. My duties in this level included:

  • Creating props.
  • Adding polish to outsourced assets.
  • Up-scaling poly-count on low poly meshes to a higher, more detailed level.
  • Creating shaders within Maya.
  • Exporting assets for multiple platforms.
  • Blending terrain textures.
  • Fixing any occurring environment bugs.

Disney Epic Mickey 2: The Power of 2 is available now on the WiiU, Wii, Xbox 360 and PS3.

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“Bang Bangs” Head Skin – Borderlands 2

 

As a contract Texture Artist for Shadows in Darkness, I had a chance to hand paint one of the customizable head skins for Borderlands 2’s DLC character, Gaige the Mechromancer. Even though it was a short assignment, I am incredibly proud that my work made it into a game that I also truly enjoy playing.

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Island Sanctuary

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I had wanted to build an exterior nocturnal scene for a long time, and this environment proved to be the perfect opportunity. It was modeled with 3DS Max and Z-Brush, and textured with Photoshop and Crazybump. The whole scene is assembled in UDK, and is a fully traversable level from the bottom shore of the mountain the top of the shrine.

The Skybox, water shaders and particle effects for smoke, steam and fire are property of Epic Games, Inc.

The idea behind this environment is a solitary island that houses an ancient shrine on top, whose glowing rune monoliths act as a barrier against curious intruders, and the crystal in the center acts as a barrier for the monstrosity that lurks inside. This island is a jail. And judging by the state of the shrine, whatever is sealed inside is about to break free…

 

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Slave Ship Cell Block

This environment is my take on on the introduction levels from the game “Enslaved: Odyssey to the West”. The pods are actually holding cells for slaves inside a ship, all shaped like eggs in order to resemble the origins of the hero the “Enslaved” story is based on. This is a fully traversable scene assembled in UDK. Built with 3DS Max, Photoshop X-normal and some Crazybump.

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About Me

I am an Environment Artist with four years of experience in the video game industry. I graduated from The Guildhall at SMU with a Masters of Interactive Technology in Digital Game Development, focusing on Art Creation.

For the last few years I have helped ship games across PC, Xbox 360 and PS3, and recently I’ve had the unique experience of modeling 3D environments for an animated series.

After decades of drawing and having a career as a Graphic Designer, creating art for games felt like the natural progression of my professional life. I have been an avid video game player through most of my life, and being a valuable part of the games industry is a goal that I’ve wanted to achieve since childhood, thanks to a life-changing introduction to a little beast of a console called Sega Genesis.

For more detailed information on what I can do, what I’ve done, and where I am now, feel free to check out my resume.

Hope you enjoy what you see here, and if you think I am a good fit for your company or current project, let’s get in touch.

Thank you!

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RESUME

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