アート情報 ：このアートはLollipop Chainsawといろいろなゲームからの作品です。

SQUARE ENIX: From 2022 - 2023 I had the great pleasure to help sculpt some exciting things for square, I'm excited for you all to see it!

THE FOREVER WINTER: In 2022, I helped create several characters for this upcoming game. The stills here are from the reveal trailer.

LOLLIPOP CHAINSAW:

Client:  Grasshopper Manufacture / 2011 (off site)

Director: Goichi Suda / James Gunn

Lollipop Chainsaw was an xbox 360/ ps3 title that was directed by Goichi Suda (director of Killer 7 and No More Heroes) and written by James Gunn (director of Guardians of the Galaxy).  

I was responsible for creating the boss character, Josie.  I created the high resolution asset for this character as well as the game ready asset.  Some adjustments were made to the game asset face at some point to better integrate it into the style of that world.

Human Element:

Client: Robotoki (on site)

Title: Human Element

Creative Director(s): Robert Bowling / A.D. - Simon Unger

While at Robotoki, I served as senior character artist as well as acting lead until Mark Dedecker came on as a full time lead. My responsibilities included creating high resolution assets that would function as the testing ground for CryEngine integration, creating the quality benchmark for our game, helping to create the asset pipeline, and helping to R&D the asset swapping system with Joshua Ochoa and Chris Gillett.

Below you will see the base male that I created as well as clothing and character class variants. Initially, we used CryEngine but at the end switched to Unreal 4, as well as a different visual style. Unfortunately, the game never shipped, but I am still proud of what our team accomplished as well as the work I did. You can see the new direction the game was taking via the launch trailer here.

As a p.s., marvelous designer was not used on the cloth. This was sculpted from scratch. The skin textures were created using a combination of painting in zbrush and painting in photoshop. No photos were used.

SOLDIER DEMO:

Client: Motion Logic

The soldier was created for Motion Logic.  I was tasked with creating the hi and low res assets for a game demo.

GIRL FIGHT:

Client: Kung Fu Factory 

Title: Girl Fight (XBLA, 2012)

   While at Kung Fu Factory, I helped to create three of the eight characters for the fighting game, Girl Fight.  Based on the sculpts that are shown, you can see that each face was originally going to be more realistic, but we later went with an 'anime-style' head that was modeled and textured by artist Dean Kubina (as represented by the in-game shots).  Each artist modeled and textured their assigned assets as well as played the role of concept artist in terms of making the concepts a bit more complete.

RYSE: SON OF ROME

Client:  Crytek (off site)

Title:  Ryse: Son of Rome

Director(s):  Cevat Yerli

  On Ryse, I sculpted a small handful of weapons for the barbarians.  I created both hi and low resolution assets, and out source manager, Chris Goodswin, helped me integrate them into the CryEngine game engine, as working with builds from offsite became rather tricky.  

Supremacy M.M.A. Unrestricted (2011) &  Bellator (2012) 

Client: Kung Fu Factory

  Supremacy M.M.A. Unrestricted:  I was tasked with creating a the character of Novell Bell for this P.S. Vita title.

  Bellator:  For Bellator, the head rigs only worked if the head geo mirrored the facegen proportions (which are so so at best).  I was tasked with  detailing/likeness sculpting on top of geo exported from facegen without changing position of the eyes/nose/mouth/cranium etc.

アート情報 ：このアートはふたつロックスターゲームTable TennisとRed Dead Redemptionからの作品です

Client: Rockstar Games (in house)

Title: Rockstar Presents: Table Tennis (Xbox 360, 2006)

With Rockstar Presents: Table Tennis, I created 10 of the 11 characters that were represented in the final game. I was responsible for the characters faces, hair shaders, and bodies. The cloth sim and other technical fixes was set up by the character TD, James Graham. Shader tuning and art direction was spearheaded by Jason Castagna.

Client: Rockstar Games

Title: Red Dead Redemption (Xbox 360/PS3, 2010)

After completing Rockstar Presents: Table Tennis, I rolled on to Red Dead Redemption for a little over a year before I left the studio. In that time, I created quite a few characters, some of which I don't think made the final cut of the game, others of which I've only been able to find in various screenshots across the internet (Rockstar isn't big on letting artists show actual asset work outside of engine).

アート情報 ：まずみっつの写真はコンセプトアートためディズニーのテレビシリーズMoon Knightからの作品です。Moon knightの作品の後このアートはネットフリックスのテレビシリーズJupiter's Legacyからの作品です。

アート情報 ：このアートはネットフリックスのテレビシリーズLove, Death & Robotsといろいろ視覚効果とゲームのエンジン作品からの作品です。

Sonnie’s Edge: I had the pleasure to help finish off Sonnie's Edge with the incredible Blur crew, and my tasks were creating Ivrina's Black light tattoo's ( the lady with the white hair), modifying/rearranging Sonnie's patches all over her jacket, and breaking up a lot of Turbo Raptors chest when he gets sliced up.

Shape-Shifters: While at Blur, I had the pleasure to also work on Shape-Shifters with the incredible Blur crew. My tasks were sculpting the clothing variations and turban variations for all of the Afghan elders (including the elder werewolf), sculpting the initial pass of Sobieski's body, and the sculpting the initial pass of the elder werewolf's human form. Daniel Kho completed the sculpting of elder werewolf's human form, and I believe Frankie DeRosa finished off Sobieski's sculpting. So many other Blurians helped with the process, it was hard to keep track of everything that was going on!

Blur/Destiny:

I was tasked with the Mad Bomber for the Blur Destiny cinematic. Frankie DeRosa created the base bug body for all of us to start from, and Krystal Sae Eua created the base paint and skin shaders we used across the board. I built out and unified the rest of the character including all this dudes tech, as well as his entire outfit and weapons. Textured, shaded, additional sculpting, etc.

Unreal Engine Metahuman creator: I had the pleasure to help Epic Games craft a selection of the bodies for Tall, Medium and Short heights of both male and female bodies as well as help create high resolution textures for skin. I also helped create the base for some of the clothing used as well.

BLACK PANTHER (2017 - Luma Pictures):

I helped create the digital double of T’challa for the casino rumble in Korea.

Helped with the digital reconstruction of the street that Okoye’s car gets wrecked on as well as making a transformable bead she throws

Helped with the transition of T’challa into the panther suit as he flips over the car

Helped make and arrange digital reconstructions of Busan for the car chase sequence

THOR RAGNAROK (2017 - Luma Pictures):

On Thor, I sculpted and look developed weapons, made spaceships, created blendshapes and concepted set extensions.  Here is the breakdown:

- Korg's Axe: This was my first asset on the show. Modeling/Texturing/Shaders. Was a nice intro to Luma's pipeline.

- Set Alteration: Anthony Grant and I digitally altered the room that this was shot in, adding subtle details to the walls.

- Set replacement: I digitally replaced the door that was exploded for this shot. Modeling/Texturing/Shaders.

- Tri Head's Axe: This was the second weapon I did for the show. Modeling/Texturing/Shaders. Fun fact, the head on the right is a scan of the director, Taika

- Thanos' Ship: The modeling team at Luma had a very short amount of time to model and texture this ship, so we broke it up. I modeled the front cockpit part. Schiller Jean-Louise, Chaiwon Kim, Lily Morgan, and others modeled and textured the rest.

Apex Legends:

I had the great pleasure of helping the character team at The Mill bring this to life. I worked on the model for the sushi chef, the little girls hair, and stylized textures for the wife. Many thanks to Derrick Sesson for the great leadership and vast knowledge of all things 3d. Enjoy!

Warner Bros/Green Lantern Ride Film:  I was tasked with concepting, sculpting, texturing and look deving characters for an upcoming project.  There were general 2d concepts, but I took it much further than the information given.  The shader work is done in V-Ray 

アート情報 ：これはたくさん自分からのアート作品です。

This is a selection of personal and fan art work that I have created over the years.  Some are creations of my own (Kim Jong Pokémon for example), while others are revamps of formerly established video game, movie, and comic characters.  Enjoy

アート情報 ：これは自分の3Dヨガの彫刻からの選択作品です。

アート情報 ：このアートはThe Dime Trapヒップホップアルバムからの作品です。

While I was at Kevin, me, Greg Mawicke, Kris Kelly, Mike Dalzell, and Carl Harders knocked out this album cover for T.I.'s album, The Dime Trap. This piece was art directed Kris Kuksi. I was responsible for T.I., one of the strippers, the hustle gang bust, and costuming many of the figures throughout the piece. The schedule was super tight, but this was the most fun I've had professionally in, well, years! They let us go nuts! 

これはいくつか私のクレー彫刻たちです。2020年に伝統的彫刻を始まりましたが今毎週彫刻するのが大好きです。

These are some of my clay sculptures. I started traditional sculpture in 2020, and now I love to sculpt every week.

アート情報 ：これはいろいろなコンサートからの3Dプリントアート作品です。

アート情報 ：これは私の3Dプリントのアート作品です。

The Notorious Mo’dok sculpture is an expanded idea that had its genesis as an illustration by artist Adam J. Rosenlund. Roughly 7 years ago, I ran across an illustration of The Notorious B.I.G. as M.O.D.O.K., and thought ‘Damn, this needs to be sculpted!’ I started the digital sculpture in March of 2015, thinking that I’d create exactly what I saw and wrap it up in a few weeks.... Finally, in January of 2017, after fits and starts of adding and subtracting parts, I at last added the Jesus piece, and in that moment, finished the first iteration of the Notorious Mo’dok.

The pictures here are images from the photo shoot for the kickstarter as well as the campaign video. Enjoy!