As a Senior Technical Artist at Azra games, I headed up the start-up and development of the studio's Blender tools, tying them into the studio code base and designing our code system for working in Blender

Additionally I assisted the Environment team with materials and shaders in Unity, as well as helped debug and solve lighting and terrain issues as the studio was wrapping up development on a beautiful corner.

As a Senior Technical artist at Lightspeed LA, I was heavily focused on helping revamp and improve the studios pipelines and workflows for content creation. I assessed and refactored deprecated studio code to improve both the efficiency and readability of our tools. Additionally while we were migrating between a vertical slice and proper production, I built a pipeline for mass-migrating content from one project to another.

I led the Tech-Art initiative in tandem with tools engineers in the development of PCG tools for the world building team, as well as created various tools in both Unreal and Maya for the Environment team.

As I was wearing many hats early on in development of the KOTOR Remake as an Environment and Material Artist, I was offered the opportunity to work closely with our Technical Art Director which eventually led to an invitation to make a transfer to the Tech Art Department as a full time Technical Artist.

As a Technical Artist I focused heavily on providing tools and pipelines for artists between DCCs and Unreal Engine 4/5. Since I transitioned at an early time in development, I have helped establish many of these pipelines from the ground up to fit our Artists needs, as well as establishing content-creation guidelines and rule-sets to provide both to internal and external artists.

As one of the first artists hired by Aspyr, I was charged with helping set up the pipelines and processes for texturing the KOTOR Remake. I provided master shaders and textures for the artists to work with in Unreal 4 and Substance, as well as began the development of the material library from the ground up.

After years of being the more technical guy on the environment team, I was offered the opportunity to transition to the technical art team at QC games. As a tech artist, I mostly served as the environment team liaison, assisting them with the more technical aspects of their production and the use of the proprietary QC tool-set. I maintained my previous heavy focus on materials and textures, but also assisted in optimization, collision, streaming, and other assorted tasks.

Environment artist with a heavy focus on materials, textures and the more technical aspects of building environments for games. Assisted the team in the generation of most materials and textures for Breach's environments, as well as modeling, world building, and dealing with the technical aspects of the environment.

Environment artist intern. Created and textured holiday props and animated materials. Art QA searching for assets which needed improvement.