Platform: PC | Engine: Unreal | Original Release Date: August 9, 2018
Download Link: https://store.steampowered.com/app/736220/Post_Scriptum/
Post Scriptum is an extremely immersive World War II massive multiplayer shooter that allows up to 80 players for huge 40 vs 40 battles. You fight in historically recreated WW2 battlefields and choose between the British 1st Airborne Division, British XXX Corps, US 101st and 82nd Airborne Division, 4th Infantry, French Army or several branches of the German Army such as the Wehrmacht, the Waffen SS or Fallschirmjägers. In the recent Armoured Upgrade, players can engage in 12 vs 12 tank battles with a crew of 4 per tank.
I did a lot or work on this game, including modeling and texturing and creating materials for all the buildings and many of the large props for the newly released Chapter 4 map, Haguenau. I made all buildings gameplay ready with interiors and custom ucx collision. I helped in the initial design of the level based on the historic Haguenau airfield in France. I also overhauled most of the games tree models and foliage, re-doing them to a higher quality level and making octahedral impostors for all the trees and buildings to help greatly improve performance. I was heavily involved in working hard to push out the "Armoured" update. I worked on re-skinning tanks for several months and improving their skeletons for more complex animation as well as setting the models up for visual effects, making custom lods, components, and setting armor plate damage values. This project was a lot of fun to work on, and I gained many new skills from it!
Platform: PC | Engine: Unreal | Original Release Date: February 16, 2023
Download Link: https://store.steampowered.com/app/736590/Operation_Harsh_Doorstop/
Operation: Harsh Doorstop is a fully-functional first-person shooter game that focuses on infantry-based combat. The game boasts several features, including mod support, Steam workshop integration, and multiplayer, cooperative, and single-player modes with bot opponents.
I made a lot of military props for this game like barricades, fences, ammo crates, etc.
I also created a system of modular building destruction that worked for different building material types like concrete, wood, clay, stone, etc. When a modular section of a building is hit by an explosive weapon such as an RPG, that piece swaps to a damaged variant. As the walls and floors are blown away, a support skeleton that is non-destructible is revealed.
Platform: PC | Engine: Unreal | Release Date: April 21, 2015
Download Link: http://store.steampowered.com/app/232090/
I worked as an Environment Artist on Killing Floor 2 for over three years. The game is a critical and commercial success.
Working on a horror-themed video-game was a long time dream of mine that finally came true!
My duties for this game included modeling and texturing sets, buildings, vehicles and environment props. I was also involved in contracting art to be outsourced. After determining what assets I wanted to see in a level, I drafted up documentation with reference images and descriptions of the models and tech specifications. The detailed information and reference I provided to contractors was vital to helping us get the assets we needed on time and finished correctly.
I also took a leading role in searching the asset libraries of our past games and finding useful models that could be up-dated and re-purposed for Killing Floor 2. This allowed us to start populating levels much faster then having to build everything from scratch.
All of this games environments were designed using modular kit pieces. I became very proficient at modular building creation, and after learning this new system, I was able to make buildings and environments more effectively, and prettier, then ever before!
Platform: PC | Engine: Unreal | Release Date: September 13, 2011
Download Link: http://store.steampowered.com/agecheck/app/35450/
I worked as an Environment Artist on Red Orchestra 2: Heroes of Stalingrad for over two years.
My main duty was modeling and texturing the games major set piece buildings. Some of the buildings were enter-able, and some were non-enter-able facades. In either case, it was my job to take the BSP mesh blocked in by a level designer in Unreal and use it as a guide to create finished buildings.
Unlike the buildings in Killing Floor 2, these were modeled in a non-modular fashion. Most of them used 1-2 base tiling textures, plus another texture for the dressing pieces (window frames, ornamental details, trim, etc). I designed the dressing pieces as separate snap-on components because this made texturing the main building mesh with a tiled texture very easy. It also prevented objects from having more then one material id. The final step after making a building was to destroy it. After all, the game is in a war zone! I did this by breaking chunks off the buildings and then using vertex paint in Unreal.
I also put in a lot of work on destructible props. For example, I was tasked to make destroyed versions of all the vehicles in the game, and there were many. Often an environment set piece (such as the Fallen Fighters monument) needed to be set up for advanced destruction so it could be blown apart. It was my job to facilitate the art side of any environment destruction the game needed.
A major component of Red Orchestra 2 is realism and authenticity. Everything needed to look as true to the reference as possible. The quality of available reference for each building varied a lot. Sometimes we had full color photos, other times all I had were small black and white pictures taken before the war. I opted to not show the images I referenced for creating the games buildings, but if you are interested in seeing them, feel free to send me an email.
Platform: PC | Engine: Unreal | Release Date: May 14, 2009
Download Link: http://store.steampowered.com/agecheck/app/1250/
Although I did not work on the original release of Killing Floor, over the years I periodically worked on special seasonal Killing Floor event maps. Regardless of the game's tech being out-dated (It didn't even use normal mapping), making assets for Killing Floor was always a lot of fun. This is because I had more of a chance to be creative and had some input into the concept/look of the levels. I even got to do some audio-work and be the announcer voice for a Killing Floor trailer video!
My favorite event map was a Summer Sideshow level called "Lockheart's Steamland." The map had a cyberpunk theme that I incorporated into every asset I made. I have shared a few examples of the work I did for this map in my portfolio. I worked super hard on this map and put in long hours, and it ended up being Killing Floors most successful event map to date!
Platform: PC | Engine: GPG Editor | Release Date: August 12, 2008
Download Link: http://www.gamestop.com/pc/games/space-siege/66548
I worked on the game Space Siege for part of it's development cycle. After I finished working on Supreme Commander, I was moved to the team developing Space Siege. I helped assist the core team by pitching in to model and texture many of the games mechanical props, vehicles, explosive items, and loot crates. The big set piece models I made like the Gantry Communications Dish were created by building a high-poly version and then baking out normal maps to the in-game model. I then used a variety of shaders like spec and gloss maps plus alpha channels to create glowing lights and other effects. A fun project to work on.
Platform: PC | Engine: GPG Editor | Release Date: November 6, 2007
Download Link: http://store.steampowered.com/app/9420/Supreme_Commander_Forged_Alliance/
I joined the Supreme Commander team to create units for the expansion pack to the game called "Forged Alliance." My job was to model and texture custom buildings and vehicles for the campaign mode. I worked from concept sketches to create art that fit the games established style. The textures needed to have a very detailed look that was quite stylized. I achieved this by painting lots of panel lines using Photoshop's line tools. When I wasn't working on making a new unit, I learned how to use the Supreme Commander Editor to paint details into level terrain and to place props. It was a great learning opportunity to work on such a successful title.
Platform: Wii/PS2/PSP | Engine: Pipeworks Editor | Release Date: November 20, 2007
For Godzilla Unleashed, I worked closely with the Lead Artist to help design the look of the alien buildings for "Mother-ship" level and the ancient ruins for "Monster Island" level. After the concept stage, I modeled and textured all the assets for these levels. I also worked on buildings for some of the city levels in the game. In addition, I was tasked with making all of the games military vehicles including the Atragon Boss Battleship.
Platform: PSP/Wii | Engine: Jade | Release Date: April 3, 2007
Prince of Persia: Rival Swords was the second Prince of Persia title I worked on. My company Pipework's Software helped co-develop the game with Ubisoft Montreal. For this game, as well as Prince of Persia: Revelations, my duties stretched far beyond just that of Environment Artist and into the realm of Level Designer. I was tasked not only with creating all the art for multiple levels, but also to learn how to use the Jade Editor (which is in French!) to set up game-play.
I become extremely well versed in the game mechanics, and found that I had a talent for designing levels. The team agreed to let me fill a dual role of Environment Artist/Level Designer for this project. Some of the levels, such as the "Zervan Water Temple" were 100% my design.
Early on in the games development, I flew to Montreal to meet the core Prince of Persia design team, show them my level work from the previous game, and get their feedback and practical advise on how to tackle the new game. Chariot Racing levels were a new series feature, so I made sure to pick their brains for advise on how to design them.
Back at home, I worked rigorous twelve hour days to complete the project. I designed, modeled, textured, and set up game-play in Jade for the new content and Chariot Races. I also worked closely with another artist on camera, lighting, effects, and scripted events.
This was a challenging and very rewarding project to be a part of.
Platform: PS2/Wii/Gamecube | Engine: Pipeworks Editor | Release Date: April 24, 2006
I worked on Rampage: Total Destruction for a short period of several months in between the two Prince of Persia titles. It was a nice break. I worked with the art director to concept new background art ideas and I assisted in creating vehicles, interface art, and props for the game.
Platform: PSP | Engine: Jade | Release Date: December 6, 2005
Prince of Persia: Revelations was the first of two Prince of Persia games I helped co-develop with Ubisoft Montreal.
I self-trained on the Jade Editor and learned all aspects of level design, building, and implementation for Prince of Persia. Working on this game game me a unique opportunity to dabble in level design. I paired up with a designer, and together we worked on creating original level content.
I was deeply involved in all aspects of level creation and beautification from initial design, to blocking in collision geometry, to beautifying, and then trouble-shooting and testing final levels. I gained a wealth of level creation knowledge by using 3DS Max alongside the Jade Editor to grey-block and play-test my levels until the game-play worked, then texture and light them, plus adding custom special effects.
I also learned to animate cameras and cut-scenes within the editor and create game-play cameras and scripted events. I learned so much working on this project that it was huge step forward in my growth as a game developer.
Platform: PS2/XBox | Engine: Pipeworks Editor | Release Date: November 2, 2004
Godzilla: Save The Earth is the first video-game project I ever worked on. I was responsible for creating day & night versions for many of the games buildings, cities and vehicles.
I pioneered a new lighting technique for each building to show lit windows at night, and reflective glass during the day. I also worked closely with programmers and fellow artists to implement new lighting features and farm systems for placing multiple objects in the game engine.
Midway through development, I went on a recruiting mission for the company that resulted in three new artist hires. I then trained the new hires in all aspects of environment art creation for Godzilla.