Land of Koz

Robot enemy concepted and created for an internal prototype

Small drone that detaches from the Scanner Sentry to hunt down the player once they’ve been spotted.

Player vehicle to take them to and from missions.

Player weapon that can be used as a melee attack or thrown.

The fishing rod went through a few variations based on feedback using various VR control methods.

In game ui prompts to teach the player how to play the game.

Post game status update UI to show the player how they did.

*This wallpaper was created by Digital Extremes and featured on their website to announce the expansion.

*This wallpaper was created by Digital Extremes and featured on their website to announce the expansion.

*This wallpaper was created by Digital Extremes and featured on their website to announce the expansion.

This an alternate skin meant for a “Ultimate” version of the boss.

With Art Direction from Digital Extremes, I worked on this Grineer gun and alternate skin. Unfortunately it was never released.

This was a very early test during pre-production to see if the usage of normal maps would yield a look we could move forward with. Ultimately we decided this is not the right direction for the look of the game.

During Pre production we explored creating all the background art in full 3D. However this was later abandoned in favor of a 2d matte painting approach.

Drawing consistent hard surface objects for animation is incredibly difficult. To make it easier on the animators I modeled a lot of hard surface objects that I rendered out in 360 degree png images that they could draw over in the games style.

I was responsible for coming up with the overall tone and direction of the environments for both in house and outsourced concept art. These mood boards were meant to give artists a jumping off point when they began their tasks.

A selection of satellites that could be made using a very few set of pieces to create variety. I made some early textures just to get scale and mapping.

Various celestial bodies for scenes where you pilot the Tempest through space. Sculpted in Zbrush and created the textures in substance painter.

I was responsible for creating the look of many of the planets used in the galaxy view for Mass Effect Andromeda. I used the shaders within the Frostbyte engine to manipulate many attributes to achieve a variety of looks.

Responsible for world building, level layout, modeling and some textures.

This piece while not fully seen in the game served as the template for all the "man made" architectural pieces in the Mangrove Cove levels.I did all of the modeling and some of the textures.

Windmills used throughout the Autumn Heights set of levels, Modeled by me, and textures were a collaboration between myself and another talented Retro Studios Artist.

For this level I did all of the world building and layout, modeling and a large variety of textures. Some assets such as the pine trees, and rock textures were created by other talented Retro Studio artists.

This diorama was an unlockable in the game contructed using assets from the Level Horntop Hop. The stone owl statues, grass and tree canopy textures were created by other talented Retro Studios artists.

Responsible for world building, level layout and modeling. Textures were created by other talented artists at Retro Studios.

I got to create the boss arena for Skowl, which is a three staged fight. It was really fun to come up with the concept for a temple/gladiatorial arena of sorts.

Models and textures for the level Aqueduct Assault which was loosely based on a level featured in Donkey Kong Country Returns.

Various models and textures that were used across all of the levels featured in the Sea Breeze Cove “world”.

Various props used in the game. I was very excited I got to include an Easter egg in the form of a tank from Super Mario Bros. 3 in one of the levels.

Modeled buildings, mountains and props for the vista in the Yemen Single and multiplayer levels. Textures were created by other talented artists at Naughty Dog.

Early planning and layout for the Chapter 19 level. I was responsible for level layout and modeling. I also delegated what assets were needed for outsourcing, as well as providing feedback to my Art Director on the quality and revisions needed for said outsourcing assets. Level was later taken to completion by Adrian Castro.

Was responsible for working with animators to model the sand dunes for the scenes in the reveal trailer. https://youtu.be/DHHcM6aHPnE

I took the Eddie Riggs hero model and repurposed it to be his father Riggnorok. I got to create the eyeball and base that he is standing.

I had the fun task of creating all of the gravestones as well as the hero gravestone for the character Lars.

Modeled the skull structure, trees, and speaker rock formations.

Modeled the skull structure, trees, and speaker rock formations.

Modeled the castle ruins.

I modeled all of the vegetation, props, and statues for this location.

I modeled all of the vegetation, props, and statues for this location.