At MindArk, I was a senior environment artist working mainly on their upcoming Unreal Engine 5 addition to the Entropia Universe franchise.
To develop our art style, we created what we called a "visual slice". My main contributions to this were creating the scene composition and vegetation assets pictured here.
Everything in this scene is hand-crafted using traditional techniques and we worked through multiple iterations with our art director and concept artists. Using UE5's Lumen and Nanite technologies, we avoided optimization where we could and focused our efforts toward a visual target for the project.
Out of the assets I made, my favorite is the orange glowing bulb plants, for which I created an animated vertex displacement shader to bring life to the bulbs. Please make sure to view the video.
On Need For Speed: Heat I was an environment artist and part of a two man team specializing in vegetation. During the project I created assets through a combination of traditional 3D modelling and photogrammetry. I worked closely with our technical artists to develop tools and workflows for applying procedural wind animation to our assets.
As we depended on outsourcing for this project, I was responsible for supplying our partners with asset creation documentation, briefs, reference material, as well as giving them feedback and finally approving their work.
On Need For Speed: Payback my responsibility was to deliver all the vegetation assets to our world building team. My daily tasks included creating assets based on scan data or manually constructed high poly models, as well as reusing and retrofitting old assets from previous titles.
The internal art team at Ghost Games is very small compared to most other AAA studios, so we also depended heavily on outsourcing for this project. I was responsible for supplying our partners with reference material, giving them feedback and finally approving their work.
On Battlefield 1 I worked on the vegetation assets together with Lead Vegetation Artist Simon Barle.
Our work was a combination of high-end photogrammetry and traditional 3D modeling.
We put particular care into making sure these assets had compelling visuals and destruction, while being highly optimized.
Much of my work consisted of assisting in finalizing assets, adding LODs and destruction, but I also got to make my fair share of assets from start to finish.
* Please note that these images are the result of a team effort. Clicking and expanding each image includes captions describing my part of the work.
“theHunter: Primal” was a hunting simulator spin-off of “theHunter: Classic” by Expansive Worlds. Cutting away from the realistic approach of the original game, this version has the player stranded on an alien planet inhabited by dinosaurs like those of prehistoric earth.
My biggest contribution to the game was creating the model and textures for the T-Rex dinosaur character. I did work on others of the dinosaurs as well, but this is the one I got to take from start to finish.
The model was also used in the trailer for the game, which was done outside of the studio.
“theHunter” by Expansive Worlds was where I got my foot into the video game industry.
I made a lot of different kinds of assets for the game, like animal lures, hunting rifles and foliage, but what I remember most fondly was getting to model and texture the animals pictured here.
