Driven to create immersive experiences through high quality visual storytelling in games.
Also an avid fan of film, photography, music, and interactive storytelling.
About my work
The puzzle-like enjoyment I get from overcoming technically challenging problems combined with my love from interactive storytelling is what led me to become a Technical artist.
Wether by building tools for artists, or resolving pipeline bottlenecks, I'm all about helping others get the tools they need to create fantastic worlds and stories.
The project currently is focused on the material deterioration, although it has a lot of other interesting things going on as well. The concept was an idea I decided to undertake as part of my graduation work as a game graphics student. I’ve always had a strong interest in visual storytelling through interesting environment design in both games and film. As a student, my graduation work was the perfect opportunity to combine my love for weathered environments with a strong interest in Unreal Engine blueprints and Substance Designer materials.
The unique aspect of this tech showcase is giving the user the possibility to completely transform the environment during runtime. Right now it’s based on a set of open parameters, but the gameplay possibilities using this type of workflow are endless.
Everything in the scene is done using UE4 blueprints and materials. Both been absolutely fantastic to work with, giving me as an artist the tools to create awesome things, even without a coding background. This combination of visual beauty and backend ease of use is why I chose for Unreal Engine 4 over other popular game engines.
As pictured in the accompanying image, a decay-map is a greyscale map that defines different grungemasks, depending on an input parameter. This input parameter is a scalar input value, calculated using the UI values defined by the user. Using some clever shader tricks a certain area of the decay map will be converted to a greyscale mask, which can be used to grunge up areas. The input parameter defines the lower limit in the range of brightness that should be interpreted as masked. When the input parameter is 0, all values between 1 (255,255,255) and 1 are masked. The more time progresses, the larger the mask range becomes. This newly created mask is then passed on, and the masked areas that were once clean materials, become totally grunged up.
The fog and LUT weights were also linked to the UI input values, and were therefor controlable by the player/user.
"Explained below is the blending between different fog states used in the project, aswell as a short breakdown on how the particle parameters were linked to the UI input."
Category:
UE4 Project
Date:
June 2016
Last trace of the Borealis
Winterland Environment, done in Unreal Engine 4
The purpose of this project was to design and create a scene that could be used as a start screen in a non-existant game.
The setting I had in mind was a survival game set in a frozen wasteland type of environment.
Key Software used includes Unreal Engine 4, World Machine and Substance Painter.
Below is the material graph for all of the mountains, which were textured procedurally using the terrific UE4 material node: pixelnormalWS.
The Main menu buttons and their flickering were all done as a simple UE4 shader.
Category:
UE4 Project
Date:
June 2016
SR 71 Blackbird's Jet Engine
High poly model made in 3DsMax, based on Pratt & Whitney J58 engine Rendered using Corona
Category:
3DsMax WIP Projects
Date:
March 2016
The VSS Vintorez
The legendary VSS Vintorez rifle, an internally suppressed soviet DMR firing special 9x39 subsonic rounds. If youve played any sort of apocalyptic game that takes place in the eastern parts of Europe, chances are youve seen this one pass by.
Rendered in Unreal Engine 4, modeled in 3dsMax, textured in Photoshop.
Category:
UE4 Project
Date:
June 2016
Handpainted stilised forest diorama
Textured in photoshop, rendered in 3DsMax
Hand painted forest scene, the model was given, I did all of the texturing. [Using 3DsMax and Photoshop]
Category:
UE4 Project
Date:
June 2016
Other work
A collection of various projects and older work
The legendary Volkswagen Golf Mk.2, modeled and rendered in 3DsMax, using Corona as renderer.
Winner of 'Best Mobile Game' at the Anglia Ruskin University of Cambridge 2016 Gamejam
Our game 'Space junkies' was the result of less than 48 hours of gamejam crunchtime, where I worked as a technical artist for the project.
