Experience

• Principle Environment Artist at Atom Switch

  September 2023 - Present

• 3D Artist, Lead at Valkyrie Entertainment

  Seattle

  November 2018 - September 2022

• Advanced World Artist at Monolith Productions

  Seattle

  June 2015 - November 2018

  My job at Monolith involved many different tasks including working with designers to layout the level, creating environment assets, overseeing a small group of in house artists, and working with outsourcers to deliver environment assets for our levels. Early on in the project I generally work with a texture artist to provide visual target assets to help establish the look of the level, and for our outsource team to use as reference. I also work with a few other artists to train incoming team members as our world art department grows, and I provide feedback to these artists and to our outsources to help them get final approval from the world art lead and art director. When we are between projects, I really enjoy researching new techniques to incorporate into our processes and most recently have been focusing on photogrammetry.

  Titles shipped at Monolith:
  
  Middle Earth: Shadow of War

  Articles published at Monolith:
  
  https://80.lv/articles/modeling-and-texturing-the-world-of-middle-earth/

• Senior Environment Artist at Visceral Games (Electronic Arts)

  Redwood Shores, CA, United States of America

  March 2012 - October 2014

  My job at Visceral mainly revolved around world building and asset creation. I modeled and textured props including high res meshes to bake out normals, create shaders, and work with the designers to detail out our maps in DICE's Frostbite level editor. While at Visceral I worked on various titles including the Battlefield 3 : End Game DLC, Battlefield 4, and helped Danger Close for a few weeks to finish up Medal of Honor, but most of the work I did was for Battlefield: Hardline.

• Senior Environment Artist at Guerrilla Games

  Amsterdam, Netherlands

  June 2010 - January 2012

  My job was to take mockup geometry from level builders and lead a small team in fleshing out the environments of the various levels. When needed, I also modeled both high and low res props, painted textures, and created shaders.

• Environment Director at Ignition Entertainment

  Gainesville, FL, United States of America

  October 2009 - June 2010

  Whether it was through one on one communication with the in house artists or giving feedback and artistic training to the outsourcers on our forums, my job at Ignition was to help the artists reach the visual goals of our game. I reviewed individual assets, helped create pipelines and artistic/technical guidelines for our work, modeled and textured, scheduled artist tasks, and gave feedback on the levels as a whole.

• Lead Environment Artist at Treyarch (Activision)

  Santa Monica, CA, United States of America

  January 2005 - October 2009

  As the lead environment artist on Call of Duty: World at War, when I wasn't actually creating props and textures, a lot of my job was to give feedback to the environment team on individual assets, and to the build teams on the overall look of the levels. I was also responsible for polishing my levels before shipping including texture balancing, decal work, prop placement, and adding the finishing touches that helped bring the map to life. At the beginning of the project, I worked out a pipeline for the environment artists and researched new techniques for our team which really helped shape the end result. We also switched from Max to Maya on this project, so I spent a large amount of time getting the art team up to speed and helping to troubleshoot our tools integration with Maya. I set up schedules for each of the 7 artists on the team, and created props and textures for the levels I was assigned to.