15 years of experience in games and animation as a 3D/texture artist
2 years of experience as a systems designer for both player-facing systems and internal pipeline tools
Environment and character modeling, sculpting, texturing, and in-engine implementation of assets including level layout, propping and lighting
Internal concept art, motion graphics, and tools and pipeline design
Expert-level knowledge of Maya, Photoshop, Zbrush, Unity
Some experience with PBR workflow, Substance Suite, and Blender
Experienced with managing outsourced work and communicating with external vendors
Experienced with creating work for PC, mobile, console, and VR platforms and managing cross-platform UX considerations
Strong working knowledge of After Effects, Topogun, Headus UVLayout, nDo2, Shaderforge
Excellent at communication, prototyping, technical and practical problem solving, teamwork, and learning new applications

Lead Artist/Systems Designer: Jan 2017 - Present
Rec Room Inc (Formerly Against Gravity) Seattle, WA

Shipped titles: Rec Room
Responsible for concepting, modeling, texturing propping, lighting and developing shaders and VFX for many of Rec Room’s first party activities, including four Quests, three Paintball maps, two Laser Tag maps, a Disc Golf course, and the Rec Center itself
Responsible for modeling some, and concepting many more, of the cosmetic Avatar items, which are the primary drivers of the company’s revenue to date
Proposed, owned, executed artwork for, and advocated for developer resources for the in-game food Consumable items, which consistently top the revenue charts
Designed and implemented artwork for avatar improvements such as different face shapes and posable hats, as well as for the tools that content creators use to author them. Implementing these systems required preserving the integrity of hundreds of pre-existing assets, and managing the amount of work created for the team with the delight provided to the players
Designed several large features, including Clubs, Consumables, Face Shapes, and the visual language/UX of our in-game circuits system and programming language, which relies on physical metaphors to tie together a suite of chips, gizmos, wires and gadgets.
Ensured mobile-friendly lighting, performed extensive optimization work, and handled asset management in Unity, as well as many of the more technical tasks in the domain of the art team.

Senior Artist: March 2015 - Oct 2016
WGCells, Bellevue, WA

Shipped titles: Smash Squad. Also worked on several prototypes and two unannounced games
Built, textured and lit eight thematically-unique arenas for Smash Squad with limited concept art
Assembled 2.5d campaign maps and animated both sprites and 3D assets to bring them to life
Responsible for almost all internal 3D work, as well as some fx and sprite animation
Aided several teams with pipeline development and tools exploration, creating art for several prototypes and driving performance testing
Ensured mobile-friendly light baking, performed extensive optimization work, and handled asset management in Unity, including the design of a comprehensive naming schemes to ensure smooth organization over the life of the project
Created a set of modular terrain, working closely with engineering and design to ensure that all needs were met

Game Artist II: July 2013 - November 2014
Amazon, Seattle, WA

Shipped titles: The Unmaking. Also worked on numerous prototypes and one unreleased project
Created and re-topologized high-poly sculpts in Z-brush and Topogun for high fidelity cloud rendering
Generated sprites from 3d models for a custom GPU instancing strategy that allowed for hundreds of enemies on screen
Baked maps and painted textures for numerous in-game assets, many of which were rigged for destruction
Arranged and propped out several levels for The Unmaking, working closely with design to ensure that the physics-driven enemy flocking performed as desired
Handled light baking, extensive optimization work, and asset management in Unity, gaining experience with Marmoset, ShaderForge, and WorldBuilder
Helped look and feel development on an unreleased game, merging comic book halftone with stylized 3D in vignettes for key art

3D Artist (Contract): Feb 2013 - June 2013
Z2, Seattle, WA

Games worked on: Paradise Bay
Created low-poly unit and environment art, including models, hand-painted textures, light-baking and improvising evolution stages from a provided concept
Refined art pipeline and lighting solutions to the enormous advantage of our workflow
Interfaced with the engineering department to make sure interdepartmental needs were met during the development of a custom engine

Senior Artist: July 2006 - October 2012
Gas Powered Games, Redmond, WA

Shipped titles: Supreme Commander, Supreme Commander: Forged Alliance, Demigod, Supreme Commander 2, Nanovor (with Smith and Tinker), Project Spark (With Microsoft) Kings and Castles, Age of Empires Online
Worked in SupCom, Siege, AoE and Unity engines
Bullt, textured, and lit high-res and in-game assets for RTS levels
Played a key role in developing environment art and lighting pipelines for Demigod, Supreme Commander 2, Kings and Castles, and unannounced projects
Created concept art for characters, props, environments and RTS units
Concepted and carried out multiple complex motion graphics sequences for both visual prototyping and final in-game movies
Modeled and textured low-poly characters with interchangeable parts, and helped design and prototype a custom avatar creation system
Designed and helped implement a system to support an extensive and very granular genetics and breeding game mechanic by which many individual features could be passed from parent to child with as little impact as possible on animation and rigging. This same system was used for customizable characters
Created high-resolution sculpts for characters, retopologized them for normal casting, created textures and final in-game assets

Production Artist: Feb 2006 - July 2006
Arkitek Studios, Seattle, WA

Created cinematic assets and animation on bio-medical subjects
Job required modeling, texturing, rigging, animation, lighting, rendering, and post-processing
Frequent problem-solving with a small, close team

Associate of Applied Arts in 3d Computer Animation

Bachelor of Arts in Art and Art History, Managerial Studies

Resume