I'm a narrative-focused concept artist and cinematic storyboard artist with a background in traditional animation.
My career has seen me be a bit of a generalist; I picked up 3d modelling for environment art, characters, a bit of rigging, 3d animation and vfx - along with engine implementation. I have experience working in games for both AAA and mobile, but a few more years used to be spent working in comics, music videos, tv commercials and short films. Learning new software and finding new ways to do things is pretty fun when I'm solving problems with designers and engineers.
Working on the Invincible animated tv series in revising storyboards, writing action notes, and checking for overseas. Designing environments, vehicle and prop designs.
Made storyboards for AAA game cinematics in an animatic style so the pre-vis layout team are able to use them as reference for camera positions, character poses and placement of 3d environment assets. Utilised greybox levels from the in game engine as reference to how much space characters and props have with each other to minimize clipping and maximize the acting performance on screen. Did additional revision work, concept art, redesigning boards as per script changes and lead feedback.
At present shipped "Tap My Katamari" and "Tekken Mobile".
Responsibilities as a game artist are to create 2d/3d assets for both characters and environments which also include concepts, models, textures, UI, marketing materials, rigging, animation, vfx, art asset/scene optimisation and game engine implementation - specifically with Unity.
Worked very closely with the lead tech artist and engineers to problem-solve solutions and alternatives to ensure visual targets for in and out game assets and stringent performance requirements for various mobile devices are met.
Collaborated with overseas team on asset creation and optimising environments while working around technical internal tools, materials and script constraints. QA tested additional internal art pipeline tools and made feature requests to improve user performance and speed up production process for other dev team members to use for art assets, effectively cutting down what would've been a 2 week task for a single person down to a couple days worth of work.
As of recent projects I had been taking on an art lead role and also helped develop art direction with supporting documentation, visual targets and concept pitch materials while maintaining constant communication with both art and engineering teams.
Worked on Sundown: Boogie Frights. Created character models, zbrush sculpts and animations as well as 2d/3d environmental assets, VFX, initial logo and HUD icons.
Created facebook ads and in-game assets for mobile titles for Kingdoms at War and initial character art direction for Perfect Drift on the iOS, as well as other unannounced projects.
Created concepts, 2d sprites, particle effects, 2D/3D animations and UI for iOS games ["E.L.E", "Wingit!", and other unannounced titles]
Digital matte paintings, GUI, puzzles, inventory assets, textures for hidden object casual games. Provided constructive feedback and alternate visual problem-solving solutions for outsourced revised artwork. Improvised new techniques to optimize production pipeline while maintaining client standards for general art direction.
Concept artist on Dungeons and Dragons: Daggerdale and did environment art/rigging/animating on World Gone Sour, as well as the story reel editing/colouring/compositing/animating of the Lost Girl Interactive Motion Comic.
Helped refine art direction and flatted/coloured the first 8 issues of Neozoic - both interior pages and covers.
Did storyboards and revision work for various commercials for clientele like Motts Clamato, Nike, H&M, Much Music, Hewlett Packard, Crush and National Geographic. Worked on music videos for James Morrison ft Nelly Furtado, Maylee Todd, Ron Sexsmith and The Darcys, Biggest highlight was working storyboards for the Much Music Video Awards.