Provided environment art support for 100 Thieves’ original first-person shooter venture, Project X. Created brand new environment models, textures and materials for several projects developed with Unreal Editor for Fortnite. Replaced level blockouts with my created assets. Set up initial lighting within set interiors. Helped establish a distinctive art style that fit within Fortnite, but kept our own specific brand of stylization. Took on world building and set dressing tasks in UEFN, while staying within Fortnite Creative’s memory restrictions. Worked closely with level designers and programmers to support technical aspects of our levels (scripted events, destructible assets, special effect meshes) and also assisted in the blockout and prototype of new projects released under Fortnite Creative.

Thanks to everything I learned and through the hard work involved in maintaining a brand new Look Dev department, I was fortunate to be promoted to Senior Level, embarking on a new and exciting unrevealed project. My duties remained similar to my previous position, with the additional functions of onboarding newer members, and creating and maintaining documentation for our always-evolving pipeline.

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.