While I was at Kevin, me, Greg Mawicke, Kris Kelly, Mike Dalzell, and Carl Harders knocked out this album cover for T.I.'s album, The Dime Trap. This piece was art directed Kris Kuksi. I was responsible for T.I., one of the strippers, the hustle gang bust, and costuming many of the figures throughout the piece. The schedule was super tight, but this was the most fun I've had professionally in, well, years! They let us go nuts!
I was tasked with the Mad Bomber for the Blur Destiny cinematic. Frankie DeRosa created the base bug body for all of us to start from, and Krystal Sae Eua created the base paint and skin shaders we used across the board. I built out and unified the rest of the character including all this dudes tech, as well as his entire outfit and weapons. Textured, shaded, additional sculpting, etc.
Warner Bros/Green Lantern Ride Film: I was tasked with concepting, sculpting, texturing and look deving characters for an upcoming project. There were general 2d concepts, but I took it much further than the information given. The shader work is done in V-Ray
I had the pleasure to help finish off Sonnie's Edge with the incredible Blur crew, and my tasks were creating Ivrina's Black light tattoo's ( the lady with the white hair), modifying/rearranging Sonnie's patches all over her jacket, and breaking up a lot of Turbo Raptors chest when he gets sliced up.
While at Blur, I had the pleasure to also work on Shape-Shifters with the incredible Blur crew. My tasks were sculpting the clothing variations and turban variations for all of the Afghan elders (including the elder werewolf), sculpting the initial pass of Sobieski's body, and the sculpting the initial pass of the elder werewolf's human form. Daniel Kho completed the sculpting of elder werewolf's human form, and I believe Frankie DeRosa finished off Sobieski's sculpting. So many other Blurians helped with the process, it was hard to keep track of everything that was going on!
This is a selection of personal and fan art work that I have created over the years. Some are creations of my own (Kim Jong Pokémon for example), while others are revamps of formerly established video game, movie, and comic characters. Enjoy
BLACK PANTHER (2017 - Luma Pictures):
Shots coming soon!
THOR RAGNAROK (2017 - Luma Pictures):
On Thor, I sculpted and look developed weapons, made spaceships, created blendshapes and concepted set extensions. Here is the breakdown:
- Korg's Axe: This was my first asset on the show. Modeling/Texturing/Shaders. Was a nice intro to Luma's pipeline.
- Set Alteration: Anthony Grant and I digitally altered the room that this was shot in, adding subtle details to the walls.
- Set replacement: I digitally replaced the door that was exploded for this shot. Modeling/Texturing/Shaders.
- Tri Head's Axe: This was the second weapon I did for the show. Modeling/Texturing/Shaders. Fun fact, the head on the right is a scan of the director, Taika
- Thanos' Ship: The modeling team at Luma had a very short amount of time to model and texture this ship, so we broke it up. I modeled the front cockpit part. Schiller Jean-Louise, Chaiwon Kim, Lily Morgan, and others modeled and textured the rest.
CALL OF DUTY COMMERCIAL (2016):
For the Call of Duty commercial, I modeled, textured, lit and animated the digital double of the jackal cockpit (as shown below). As well as the digital double of the grenade thrown in to clear the room. Other duties included making digital doubles of characters and helping with space debris and other items.
AGENTS OF SHIELD (2016):
For Agents of Shield, I created a digital double of Mack's shotgun ax to be thrown into the ghost's chest. I modeled, textured, and lit the entire scene in v-ray.
Directors: Bryan Singer
While working at the Third Floor Inc., not only did I have a chance to create previs characters for this latest and greatest X-Flick (not shown here), but I also had the great pleasure to concept potential variations of the 1970's sentinels and the future sentinels. These concepts were very, very quick turnaround, and being that this was my 1st major movie, I made sure to include a shot of my name in the credits, because...well, why not. Also, the imdb link is here .
Client: Robotoki (on site)
Title: Human Element
Creative Director(s): Robert Bowling / A.D. - Simon Unger
While at Robotoki, I served as senior character artist as well as acting lead until Mark Dedecker came on as a full time lead. My responsibilities included creating high resolution assets that would function as the testing ground for CryEngine integration, creating the quality benchmark for our game, helping to create the asset pipeline, and helping to R&D the asset swapping system with Joshua Ochoa and Chris Gillett.
Below you will see the base male that I created as well as clothing and character class variants. Initially, we used CryEngine but at the end switched to Unreal 4, as well as a different visual style. Unfortunately, the game never shipped, but I am still proud of what our team accomplished as well as the work I did. You can see the new direction the game was taking via the launch trailer here.
As a p.s., marvelous designer was not used on the cloth. This was sculpted from scratch. The skin textures were created using a combination of painting in zbrush and painting in photoshop. No photos were used.
Client: Grasshopper Manufacture / 2011 (off site)
Director: Goichi Suda / James Gunn
Lollipop Chainsaw was an xbox 360/ ps3 title that was directed by Goichi Suda (director of Killer 7 and No More Heroes) and written by James Gunn (director of Guardians of the Galaxy).
I was responsible for creating the boss character, Josie. I created the high resolution asset for this character as well as the game ready asset. Some adjustments were made to the game asset face at some point to better integrate it into the style of that world.
Client: Motion Logic
The soldier was created for Motion Logic. I was tasked with creating the hi and low res assets for a game demo.
Client: Kung Fu Factory
Title: Girl Fight (XBLA, 2012)
While at Kung Fu Factory, I helped to create three of the eight characters for the fighting game, Girl Fight. Based on the sculpts that are shown, you can see that each face was originally going to be more realistic, but we later went with an 'anime-style' head that was modeled and textured by artist Dean Kubina (as represented by the in-game shots). Each artist modeled and textured their assigned assets as well as played the role of concept artist in terms of making the concepts a bit more complete.
RYSE: SON OF ROME
Client: Crytek (off site)
Title: Ryse: Son of Rome
Director(s): Cevat Yerli
On Ryse, I sculpted a small handful of weapons for the barbarians. I created both hi and low resolution assets, and out source manager, Chris Goodswin, helped me integrate them into the CryEngine game engine, as working with builds from offsite became rather tricky.
Supremacy M.M.A. Unrestricted (2011) & Bellator (2012)
Client: Kung Fu Factory
Supremacy M.M.A. Unrestricted: I was tasked with creating a the character of Novell Bell for this P.S. Vita title.
Bellator: For Bellator, the head rigs only worked if the head geo mirrored the facegen proportions (which are so so at best). I was tasked with detailing/likeness sculpting on top of geo exported from facegen without changing position of the eyes/nose/mouth/cranium etc.
Client: Rockstar Games (in house)
Title: Rockstar Presents: Table Tennis (Xbox 360, 2006)
With Rockstar Presents: Table Tennis, I created 10 of the 11 characters that were represented in the final game. I was responsible for the characters faces, hair shaders, and bodies. The cloth sim and other technical fixes was set up by the character TD, James Graham. Shader tuning and art direction was spearheaded by Jason Castagna.
Client: Rockstar Games
Title: Red Dead Redemption (Xbox 360/PS3, 2010)
After completing Rockstar Presents: Table Tennis, I rolled on to Red Dead Redemption for a little over a year before I left the studio. In that time, I created quite a few characters, some of which I don't think made the final cut of the game, others of which I've only been able to find in various screenshots across the internet (Rockstar isn't big on letting artists show actual asset work outside of engine). Below are some of those characters, with the exception of John Marston.
Destiny/Netflix/Pepperidge Farms: This first batch of work is a collection of characters and props from the aforementioned clients. I was tasked with modeling, texturing, look dev, and final shader work.
Swift Playgrounds: I worked with a design studio to help Apple create the look and assets for Swift Playgrounds, an iOS game that helps children learn how to code. Apple has never made a game before, so in addition to creating a library of parts, we made the low poly assets in a such a way that people in the Cupertino office could put levels together, almost like a prepackaged dinner. For this project, I modeled/textured a majority of the character and environment assets, as well as helped build/level design a good number of the 75 stages in the game. Displayed are just a few of those assets.
Apple Emoji update 10.2: I worked with a design studio to help Apple look dev the emojis for the now 10.2 update that came out in late 2016. We 3d modeled and textured the assets as well as compiled the final look in v-ray. Shown are some of the models (with the respective final emoji in the upper left corner), as well as a sheet of all the emoji I made. It's a rare treat when your work can reach billions of people.
The Mummy (2017): I was tasked with 2d concepting the transformation of a character from the upcoming Mummy reboot with Tom Cruise. I worked with the head of the makeup department until we came up with a look that the director approved.