[3/1/2020] Portfolio is not current - a refresh is planned for summer 2020.
As Art Director I engage in hundreds of hours of style development, art direction, team leadership, production planning, prototyping, and implementation plus frequent paintovers, hand-on asset creation, art QA, and polish. These images reflect the effort of teams of many artists.
Disney Interactive, 2010
Landed the deal by demonstrating our ability to rapidly develop exceptionally high-quality graphics. I maintained an open & amicable relationship with DI’s Art Director and DFA’s content managers, adhered to the established film style and directed a separate style appropriate for DS, successfully managed all aspects of the hefty outsourcing slate (50+ characters) with a vendor in China resulting in hi-quality on-time asset delivery, and directly produced the animated Wii + DS story interstitials with a director and external contractors.
Drawn to Life: The Next Chapter
Hired the art team and oversaw the earliest production stages. From pre-Alpha on I was directly involved, hands-on, making sure the team hit the target date at an acceptable quality.
I heavily optimized the production pipelines and established granular tracking methods to get the project back on track, efficiently directed art + design teams with precise polish hit lists, drove design resolutions, directed story interstitials, created level art and bug-fixed.
Game hit target date with a higher Amazon user rating than either DS version.
My AMAZING Story
Microsoft Game Studios, 2007-09 (unreleased)
First party retail (not XBLA) title using Unreal Engine 3: established the family-friendly style of the Wii pitch which excited MGS enough to sign the project for 360.
I recruited & managed a large team of 16 (with 4 leads) plus external contractors & vendors, successfully bootstrapped the art style to 360 standards through hands-on concept creation & style guide reference and directed the art team through daily art reviews, resulting in a highly-polished, charming first-playable noted for its fantastic beauty (one exec referred to it, solemnly, as “the most beautiful thing I’ve ever seen… thank you”).
Later stages of the software prototyped early Kinect (nee “Natal”) playability concepts. At MGS exec level request pitched a proposal for a graphical overhaul of XBL Avatars.
Project halted due to one of MGS's frequent internal restructuring/ focus shifts.
Battle Of The Bands
Established early tone and direction via concept art in the initial pitch, developed first prototypes and user-interface concepts, successfully refined the style to publisher satisfaction through multiple design iterations via concept art rallies, established a regular art review process (“dailies”), created presentations and materials for marketing team.
Electronic Arts, 2007
Established family-friendly art style with Lead Artist, developed content pipeline, built 3d game assets, designed avatar technical functionality (as the first 3rd party approved to use Miis), adjusted & created animation, icons, UI, responded to rapid design iteration feedback from EA resulting in their one of their most successful original Wii titles (750k+ sold) to date.
After Burner: Black Falcon
Oversaw early stages of project with Lead Artist, approved art style and hired an entirely new second art team at the studio for this revamp of the classic arcade IP.
Established proper outsourcing guidelines, directed UI plus character concept, directly produced opening & interstitial cinematics, smoothly responded to imploding vendor, later built & lit levels, directed post-Alpha environment polish efforts via hands-on playthroughs with Lead Artist for a smooth, on-time delivery.
CONAN: Queen of the Black Coast
THQ, 2006 (unpublished)
Combination AD/ Lead Artist role. Established look and feel authentic to Robert Howard’s original vision then created concept art and pre-visualization images for UI, character and world. Directed both in-house and outsourced concept and modeling, wrote clear ADD and in-depth modeling specs (plus scripts) for vendor, maintained an excellent relationship with the IP-side Art Director and daily iterative contact with vendor / contractors, collaborated with engineers on graphics engine development, wrote Max scripts and tools for artists.