I worked as a Senior Environment Artist on Star Wars: Battlefront II for EA Motive in Montreal. My duties included modeling, texturing, set dressing, optimization, and outsource supervision. All of the induced screenshots were from the planet Vardos which was an entirely new planet in the Star Wars Universe. It was a great challenge and honor to help create and realize it for Battlefront II. I did additional work on Endor and the second version of Vardos. Software used includes Maya, Substance Designer, Substance Painter, and Frostbite.†

Modeling and texturing on the dock and supporting structures.

Set dressing, support props, modeling (floor sections, the building and stairs were primarily done by another artist), and optimization.

Set dressing, modeling, and optimization.

Set dressing, texture work on signs, building modeling and optimization, outsource supervision on background buildings.

Modeling, texturing, and design of store fronts. Set dressing of the area.

Modeling, texturing, and design of store fronts. Set dressing of the area.

Modeling, texturing, and design of store fronts. Set dressing of the area.

Modeling, texturing, set dressing and design of the garden area.

Modeling, texturing, set dressing and design of the garden area.

Call of Duty Modern Warfare Remastered was an interesting and fun project. My role was to update interiors and exteriors of buildings in the maps Blackout, Heat, and Safehouse. This was my first time working on a remaster. The challenge of updating visuals while keeping the gameplay entirely intact was a unique one. For this project my role was focused on updating the original textures (with textures provided by Activision, I authored no original textures), eliminating hard 90 degree corners, and set dressing. It was almost entirely an exercise in mood and story telling.†

All images are copyright Activision.

I worked on the multiplayer component of DOOM at Certain Affinity. My duties included modeling, texturing, and optimization. This was a really fun project to work on. Iím a huge fan of the original DOOM, and was very appreciative of the creative freedom given by id and Certain Affinity. I made the building structures in the map Excavation, textures and modeling in Infernal, and addition work on Perdition. Software used included Modo, Zbrush, Quixel Suite, and idtech 6.

All images are copyright Bethesda and id Software

I worked on Halo 2: Anniversary multiplayer which was part of Halo: The Master Chief Collection. Working on this project was very inspiring for me. I was a big fan of Halo 2 upon its original release and was given a lot of personal design freedom to interpret and update the art. For this project I learned Maya as well as the proprietary Halo engine.

All images are copyright Microsoft and 343 Industries

Here's some in game footage

I was fortunate to have worked on Middle-earth: Shadow of Mordor as an Environment Artist. This was an amazing project. Getting to work on a large open world game provided a lot of interesting challenges. I created textures, assets, and worked on a lot of optimization (LODs, Shadow Geo, Geo cleanup, etc), as well as set dressing. Shadow of Mordor would go on to receive huge acclaim and many Game Of The Year awards. 3ds Max, Quixel Suite, Zbrush, and Monolith's proprietary lithtech engine were used on this project.

All images are copyright WB Games and Monolith Productions

I made this sculptural piece based on concept art. Here's the top portion.

The bottom portion.

Here's a shot of the high poly Zbrush work. I started by getting a base charater mesh from the Character team, as well as the armor for the Guard. I then posed all figures and added all clothes and chains based on provided concept art.

I refined this building's textures, optimization, and silhouette. This building wasn't originally meant to be climbed on, and I worked with designers and added the roof logs to be movement compliant with the character.

I did a lot of optimization in this area, including crearting proxy shadow geo for the entire zone

I did a lot of geo refinemnt in this area, created tiling textures in Zbrush, painted texutre blends, and movement design.

Here's a close-up of that area. I created movement patterns for the character by strategic stone placement on various buildings.

Lots of optimization and prop creation (using existing tiling textures) for this area (fences, docks, etc).

Another shot of the docks.

I worked as an Environment Artist at BioWare on Star Wars: The Old Republic for over four years. My main responsibilities included world building, modeling, texturing, outsource supervision, optimization, and lighting. It was a fantastic opportunity to work alongside amazing artists, designers, programmers, and writers, not to mention fulfill a childhood dream of being involved in creating a small piece of the Star Wars Universe! Below is a selection of work I accomplished while working on The Old Republic.

My roles on Taris included terrain sculpting, modeling, texture painting, asset outsourcing, interior visual design, interior propping, interior lighting, and optimization.

Above is a pirate stronghold. I wanted these interiors to feel dank and dusty and evoke the feeling of being inside an old cellar. By using a lot of warm tones in the fog and lighting and by hanging tarps from the ceilings, I was able to give these areas a unique feeling and made them stand out from the traditional color schemes associated with the Repubic and Imperial factions.

This room was a one day task. The cinematic it was used in called for a small archive of people who had been frozen in carbonite. I did all propping, lighting, and visual design.

Above is a shot of The Endar Spire, a ship from Knights of the Old Republic that was shot down by Darth Malak. The ships's structure remained largely intact after the attack and it crashed on the surface of Taris. Players get the chance to revisit the ship's ruins in The Old Republic. As with the pirate dungeons, I was responsible for all visual design, lighting, and propping of the entire Endar Spire.

My main duties on Belsavis included a very large amount of terrain sculpting, exterior propping, modeling, texture painting, asset outsourcing supervision, the visual design and implementation (lighting and propping) of dozens of interiors, and optimization.

Color was something we wanted to emphasize on Belsavis to make it unique. We used coral reef references for color choices. To give the impression of water, the planet's fog was given a rich, saturated blue. The exterior foliage and environment props were given secondary colors to evoke coral and marine life.

Above is a hallway of an ancient Rakata vault. I was in charge of supervising the entire production of the Rakata modular architecture set as well as the entire Rakata prop set. I came up with multiple lighting schemes as well as the initial prototype dungeons that would later be heavily featured in the planet. It was a great opportunity to continue with what was established in Knights of the Old Republic.

I'm a huge fan of Robocop and wanted to an excuse to learn Blender and model one of my favorite robots of all-time! Done in Blender (using Hard-Ops, Boxcutter, Cablerator, and Decal Machine) and Textured and Rendered in Marmoset

This piece was inspired by my love of the film Alien. It's a revision of an old scene I made in Unreal a few years back that I wanted to throw into Unreal Engine 5. Very fun to play with Lumen!

High Poly work for the tiling textures used to create the scene.

To break up the Greeble section of the tiling texture set, I designed and created the above pieces to add to the wall sections.

This Victorian house was made with UDK, 3ds Max, Photoshop, and dDo.

This scene was made with 3ds Max, Photoshop, dDo, World Machine, and UDK.

Final triangle count was 18.5k. The asset was made with six 512x512 tiling textures, two trim texture sets (1024x512 and a 512x512) and two sets of unique textures, one 1024x1024 for windows and a 2048x2048 for the remainder of unique components.