Land of Koz

For our fishing minigame we had over 100 fish to create, I came up with the idea to have our concept artist Arthur create illustrations that could be directly mapped onto mesh. Thus cutting down on the production time to create these. While the majority of the fish were created via outsourcing partners I did get a chance to create a handful myself.

Using kits and assets created by our talented team I would sometimes help out with set dressing/world building duties.

As a huge fan of action figures and their colorful and vibrant packaging, when it came time to come up with collectables for the game I lobbied for in universe action figures of our various characters. Coming up with blister packs, and boxes as well as the various graphics that went on them was a load of fun. Having amazing artwork from our artists to work with made the process very smooth as well.

Way before we had even hired UI/UX designers and artists on the team I did some very early look dev on what our game HUD could look like. While this was never meant to be final art, only something more polished than programmer art, I was still happy with the designs.

Although we never got to see it put into production, I created this proof of concept render for what a Vinyl version of our soundtrack could look like.

Being a child of the 80s I had to put a nod to a magazine advert that I distinctly remember having an impact on me as a kid.

The fishing rod went through a few variations based on feedback using various VR control methods.

In game ui prompts to teach the player how to play the game.

Post game status update UI to show the player how they did.

*This wallpaper was created by Digital Extremes and featured on their website to announce the expansion.

*This wallpaper was created by Digital Extremes and featured on their website to announce the expansion.

*This wallpaper was created by Digital Extremes and featured on their website to announce the expansion.

With Art Direction from Digital Extremes, I worked on this Grineer gun and alternate skin. Unfortunately it was never released.

This was a very early test during pre-production to see if the usage of normal maps would yield a look we could move forward with. Ultimately we decided this is not the right direction for the look of the game.

During Pre production we explored creating all the background art in full 3D. However this was later abandoned in favor of a 2d matte painting approach.

Drawing consistent hard surface objects for animation is incredibly difficult. To make it easier on the animators I modeled a lot of hard surface objects that I rendered out in 360 degree png images that they could draw over in the games style.

I was responsible for coming up with the overall tone and direction of the environments for both in house and outsourced concept art. These mood boards were meant to give artists a jumping off point when they began their tasks.

Responsible for world building, level layout, modeling and some textures.

This piece while not fully seen in the game served as the template for all the "man made" architectural pieces in the Mangrove Cove levels.I did all of the modeling and some of the textures.

Windmills used throughout the Autumn Heights set of levels, Modeled by me, and textures were a collaboration between myself and another talented Retro Studios Artist.

For this level I did all of the world building and layout, modeling and a large variety of textures. Some assets such as the pine trees, and rock textures were created by other talented Retro Studio artists.

This diorama was an unlockable in the game contructed using assets from the Level Horntop Hop. The stone owl statues, grass and tree canopy textures were created by other talented Retro Studios artists.

Responsible for world building, level layout and modeling. Textures were created by other talented artists at Retro Studios.

I got to create the boss arena for Skowl, which is a three staged fight. It was really fun to come up with the concept for a temple/gladiatorial arena of sorts.

Models and textures for the level Aqueduct Assault which was loosely based on a level featured in Donkey Kong Country Returns.

Various models and textures that were used across all of the levels featured in the Sea Breeze Cove “world”.

Various props used in the game. I was very excited I got to include an Easter egg in the form of a tank from Super Mario Bros. 3 in one of the levels.

Modeled buildings, mountains and props for the vista in the Yemen Single and multiplayer levels. Textures were created by other talented artists at Naughty Dog.

Early planning and layout for the Chapter 19 level. I was responsible for level layout and modeling. I also delegated what assets were needed for outsourcing, as well as providing feedback to my Art Director on the quality and revisions needed for said outsourcing assets. Level was later taken to completion by Adrian Castro.

Was responsible for working with animators to model the sand dunes for the scenes in the reveal .