10+ Years of Professional experience as an Environment Artist at Hi-Rez Studios
Highlights:
Senior Environment Artist on SMITE 2 throughout early development. One of the first ENV folks on the project. I was able to hit the ground running when it came to the studio's transition from UE3 to UE5. I was responsible for a lot of look dev, master material creation and pipeline research.
Lead Environment Artist for Paladins from the Dragons Call map/event onwards.
Personally responsible for team tasking and direction on several maps for Paladins: Champions of the Realm including Brightmarsh, Ascension Peak and Serpent Beach prior to being lead
Spearheaded a lot of best practices and standards for the SMITE ENV team even as a Junior and Mid Level artist that continued to be used by most ENV teams throughout the company going forward.
Hi-Rez Studios shifted to a publishing focus, and split off subsidiary studios for each of it's major games. Titan Forge is the studio that handles SMITE: Battleground of the Gods and it's sequel SMITE 2 exclusively.
The team on Paladins was being adjusted based on upcoming content plans and I was shifted to the SMITE Team under the existing Lead Artist on their environment team to help out with future SMITE maps. I worked on the seasonal Conquest updates for SMITE Season 10, Season of Hope, Season of Souls, and Season of Celebration.
After that, I was shifted to the SMITE 2 team to help work on Look Dev and begin establishing a pipeline as the studio geared up to make the leap from Unreal 3 to Unreal 5. I worked closely with a Concept Artist and the Game Lead to iron out timelines, plan our approach to modeling, material creation, etc. and prepare that information to be easily digestible by the rest of the Environment team as they began moving over from SMITE 1.
Hi-Rez Studios shifted to a publishing focus, and split off subsidiary studios for each of it's major games. Evil Mojo is the studio that handles Paladins: Champions of the Realm exclusively.
I was promoted to Lead ahead of the Dragon's Call event in Paladins. I had been handling a lot of team tasking, leads meetings and pipeline guidance up until that point, as we no longer had a Lead Artist. I was fortunate that our Art Director took note and was offered the position.
I had to learn a whole lot about people management and schedule creation/negotiation very quickly, but I was grateful for the ability to advocate for my team within Leads meetings and the like.
I handled less direct art production for a while but was able to help steer many good artists towards our collective goals which was a different kind of fulfilling.
I was promoted to Lead ahead of the Dragon's Call event in Paladins. I had been handling a lot of team tasking, leads meetings and pipeline guidance up until that point, as we no longer had a Lead Artist. I was fortunate that our Art Director took note and was offered the position.
I had to learn a whole lot about people management and schedule creation/negotiation very quickly, but I was grateful for the ability to advocate for my team within Leads meetings and the like.
I handled less direct art production for a while but was able to help steer many good artists towards our collective goals which was a different kind of fulfilling.
Worked on assets for SMITE Battleground of the Gods, Paladins: Champions of the Realm, and Realm Royale.
I had a hand in every Paladins map except Trade District, in most cases handling some of the architectural and prop modeling and in some cases materials with materials becoming more of my responsibility over time.
On Realm I was part of the initial push for creating the huge interconnected map using existing Paladins maps and then helped to adapt or model from scratch a lot of modular architecture and building kits to be used for more tailor-made world building after that.
Worked on a variety of assets for SMITE: Battleground of the Gods. I had a hand in Conquest Season 2, The Roman Arena map update, Chinese Joust and the original Clash map.