● Architected modular 3D environment systems for Starlight Re:volver, establishing reusable asset libraries that

accelerated level creation workflow

● Implemented our cel-shaded material pipeline using custom node networks, achieving consistent stylized aesthetic

across hundreds of environment assets

● Collaborated with technical artists to optimize asset memory footprint, maintaining performance targets while

preserving visual quality

● Delivered complete environment packages from concept to final implementation, supporting art direction requirements

and technical specifications

● Created environment assets for multiple Fortnite Creative projects, working within strict memory constraints while

maintaining high visual standards

● Established lighting workflows for interior spaces using Unreal Engine's real-time lighting system, achieving cinematic

quality within performance budgets

● Collaborated with level designers and engineers to apply environmental interactions and destructible asset systems

● Developed blockout-to-final asset workflows that reduced iteration time and improved cross-team communication

● Supported Project X development with environment art assets and technical consultation

● Transitioned environment art pipeline from traditional texturing to advanced look development workflows, improving

visual quality and production efficiency

● Implemented lighting solutions from blockout through final render, standardizing practices for team consistency

● Supervised external outsourcing partnerships, creating quality benchmarks that reduced revision cycles

● Trained team members on look development techniques, developing internal training materials through

documentation

● Optimized asset production pipeline, reducing average environment completion time while maintaining quality

standards

● Delivered look development assets for the RWBY: Arrowfell multi-platform game release, maintaining visual

consistency between game and animated series

● Ensured seamless integration between gameplay and cutscene environments

● Collaborated across studio boundaries to align art direction and technical requirements for cross-media franchise

I was offered the opportunity to switch positions and become a Look Dev artist in the same team. It offered me a great chance to learn about lighting and our render process, and continue working with what I love: stylized texturing. In this position I created hand painted and procedural textures, built shaders for Redshift, set up lighting for sets, optimized and cleaned up files, and set them up for the Post/VFX department.

Worked on several 3D animated productions such as RWBY, Red vs Blue, and gen:LOCK. In charge of modeling, unwrapping, texturing, shader creation and file cleanup for environment assets and props.

During my time at Junction Point I created and textured props, polished outsourced assets, built shaders, blended terrain textures, and modified UV maps to accommodate our unique shaders. It also involved a lot of optimization and solving visual bugs.

Through being a remote contractor for outsourcing studio Shadows in Darkness, I was able to create textures for DLC content in Gearbox Software's Borderlands 2.