As a Lead Artist on Far Cry Primal, my core responsibilities included initial World Machine layouts for the Bloodtusk Mammoth and Great Scar Bear 'Beast Master Hunts', as well as the Udam Homeland maps. During the bulk of production, I spear-headed the high and low-level direction of the aforementioned maps' key locations from conception all the way until the game's release. I would also assist in benchmarking locations, prototyping high-level ideas, as well as polishing and debugging the various maps.
Screenshots coming soon, but until then, enjoy the video below!
Contributions to Far Cry 4 were focused on the Shangri-La portion of the game. As a Level Artist/Map Lead, I was one of the first artists assigned during pre-production, and one of the last to close the game. I was responsible for entire maps, as well as helping to support other maps during different phases of production. My contributions include initial layout, world building, set dressing, modelling, texturing, polish and debug.
Contributions to Splinter Cell: Blacklist were focused on the Chemical Lab level, set in London, England. As a Modeller/Level Artist, I was part of the project for 2+ years, spanning pre-production to the final months before shipping. I was responsible for entire sections of the Chemical Lab map, as well as helping to support other maps during different phases of production. My contributions include initial layout, structural and prop models and textures, set dressing, polish and debug.