God of War: Ascension
Continuing a tradition of high level art and style, the forth installment of the God of War series pushed the level of "epic". It was a pleasure working on a project that was hyperrealistic. It's pronounced and exaggerated shapes and theatrical lighting schemes were in line with my own personal tastes in game art.
Transformers 3:Dark of the Moon
This project posed some interesting visual develpment problems. The setting of the world was grounded in reality, hence the materials, textures and scale had to follow those parameters. Yet, scale had to work for both humans and Transformers. Finding the balance between believable scale and playability was a challenge but was ultimately solved by choosing sound locations and placing items in the world to help the player believe they were large in a human world.
Team Alpha GO!
A Saturday morning cartoon that you could play...The idea behind Team Alpha GO! Campy and comedic, the art style was graphic. Drawing from inspirations of the likes of Maurice Bender and Saul Bass. I wanted to maintain strong silhouettes and have a graphic design sense to the world. This was pushed to all aspects of the game--Environments, characters, cinematics and UI.
The Bourne Conspiracy
The Bourne Conspiracy was an interesting project in that it was the first game I had worked on that was based in the real-world. Where I could'nt really push the shapes and exaggerate the color schemes in which I was accustomed to previously. Photo reference was heavily used for this game, hence a good amount of noise cleanup was needed for the textures to prevent 'muddiness' and noise in the game. Lighting was an area where I could find the most artistic satisfaction.
LMNO: Steven Speilberg Project
In developing and refining the visual target of environments for this project. Real locations were scouted out and used as reference. My duties entailed generating assets for environments(building, props, etc), lighting and atmospherics for the next Steven Spielberg project. Moreover, establishing a proven art pipeline for generating level art, as well as researching tools and methods to innovate production.
In addition to basic modelling, texturing and lighting, it's essential early on in production to utilize all tools available to help define a space-- It's mood and atmosphere can be influenced so much by scale, color, lighting, and sound.
Despite the deficiencies in technology and resources, Splatterhouse was one of the most fun and satisfying projects I have ever worked on. An homage to the original series, the game pushed the gore level so far it reached hilarity. Charged with establishing the look of the environments, I drew from comic books and other inspiration that would push the warm and cools of lighting. Theatrically lit to showcase key gameplay goals and missions. Shapes and silhouettes were pronounced.