Welcome to Version 4.0!
I've been in the game industry for about 4 years now. Way back in 2011 I got my start as one of the founding team members of Camouflaj. During the 3½ years that followed I helped develop the world of République, and shipped 4 major releases in the process.
The first 3 installments of République series and the remastered PC version:
République: Exordium, République: Metamorphosis, République: One's & Zeroes, and République: Remastered.
These days I'm working full-time at Presence Labs making all sorts of cool VR experiences. And hopefully I can share what I've been up to in the near future! As for now, below you can see a few of my favorite works from over the years.
If you're interested in my work or have a question feel free to drop me a line: redacted
République: Exordium (Remastered)
Pride & Joy.
One of the great things about working on a small team is the creative control that comes with the territory. The Atrium is no exception, and I can honestly say I was given free reign of everything you see above. From beginning to end I was responsible for the vast majority of composition as well as the execution.
Nearly every single prop, prefab, light source, material and texture, was delicately and painstakingly authored or placed by my mousehand. I enjoy being able to say that, now that it's all over! The Atrium was way more work than I ever could've imagined, and with the ominous hardware limitations of a mobile device looming overhead at all times I stumbled more than a couple times.
Note: The images above are from the PC version, which is identical to the mobile version but with the addition of dynamic lighting and physically based materials.
But it was worth it.
The Atrium is the very best of my environment art, and I am so proud to finally share it with the world. This scene was especially challenging due to a lack of concept art - which was daunting at first - but in turn I was given the opportunity to learn to concept in real-time. Since then I have become very comfortable constructing environments with little-to-no reference.
I look forward to creating more scenes like The Atrium. Although they are arduous and sometimes frustrating to execute, they are the most direct path to "leveling up" in my experience. I truly enjoy being tested in this way, after all, these are the projects which taught me the most about art as well as life in general.
République: Exordium (Remastered)
Welcome to hell.
The Brig - a depressingly oppressive and utilitarian environment which housed the undesireable residents of Republiqué - was intended to be the antithesis of The Atrium. This contrast is all the more apparent as these two environments are in close proximity to eachother in the game. This clashing of aesthetics was intentional as it ties into the story of Republiqué. The entire series is based upon the idea of "lifting the veil" of a beautiful facade to reveal the dark seedy underbelly of a totalitarian state of oppression.
As with The Atrium there was virtually no concept art available for visual reference. I went through multiple color and lighting schemes until I landed on what you see above. Overall there is still room for improvement in the believability of the scene's construction. For instance, there is no implied path to get to the second or third floors of the prison. Although that was initially done for gameplay reasons, I now realize I could have added a gated-off stairwell to add to the realism while still maintaining gameplay dynamics.
Sculpting detailed creatures is one of my favorite things in the whole world. That's not an exaggeration! I don't get a chance to do it professionally very often but I do what I can in my free-time. Above are a couple selected works which were my favorites.
I generally use Autodesk Mudbox for organic sculpting (and texturing) but I'm looking forward to adopting Zbrush in the near future. Note: The grayscale renders were achieved in Keyshot.
Early on in the development of Republiqué we were using pre-rendered backgrounds, just like the original Resident Evil games. That meant we weren't hindered by hardware limitations (besides memory) to achieve the desired look of the game.
During those days (before Kickstarter) we produced a vertical slice demo, and in that demo was a demand for high-res statue sculptures of various historical figures. Which sounded great! However, the demo was necessary for our Kickstarter campaign, which meant I was operating under a very strict deadline.
I had just 24 hours to complete each individual statue. Day-in and day-out I went into the studio and sculpted as fast and furiously as possible. The regular 8-hour day turned into a 12-hour day, sometimes more. By the final day and the final statue I was spent, but I had a great time and I'm very glad to have had an opportunity to speed up my sculpting skills.
(The alien character was not part of the Kickstarter Demo; that was just for fun!)
Odds & Ends
Just a few random pieces which didn't fit in the other categories.