Experience

• Citadel Miniature Designer at Games Workshop

  Nottingham, GB

  July 2022 - Present

  Games Workshop is the largest and the most successful hobby miniatures company in the world. Our major brands are
  
  Warhammer Age of Sigmar, Warhammer the Old World, Warhammer the Horus Heresy and Warhammer 40,000. We make the
  
  best fantasy and sci-fi miniatures in the world. Games Workshop was founded over 40 years ago in London, which has grown into
  
  what it is today through the creativity and Enginuity of its designers and the supporting staff which help bring this amazing hobby to
  
  people worldwide.

  Accomplishments:
  
  • The first model of mine that was released was voted 2nd in model of the year 2024
  
  • Working with Marketing and Media to improve information security and handover standards
  
  • Help redefine and modernize what it means to make a Games Workshop model
  
  • Mentoring junior staff and seeing their career flourish
  
  • Writing scripts and macros that have improved my team's workflow
  
  • Intruded a flexible, retargeting rigging system using proxies

  Responsibilities:
  
  • UV Mapping with Maya, Ensuring UV maps laid out coherently, packed efficiently and that UV shells retained volume
  
  when subdivided. Placing UV seams in areas that would not disrupt texturing or be obvious on final output
  
  • Producing assets based on concept art provided, elaborating and finessing designs to fit with the Games Workshop style
  
  • Collaborating with writers and production staff to ensure concepts align with established lore and stay consistent with
  
  Games Workshop IP
  
  • Bring any given model from concept to model to finish product
  
  • Consulting tooling and production departments to ensure a viable and user-friendly experience
  
  • Asset Library management to maintain consistency and designer creativity between teams during handover
  
  • Strategically working independently and as a team to meet product deliverables
  
  • Work with content leads and art directors to ensure designs meet agreed aesthetic for any given faction
  
  • Help benchmark asset quality and efficacy
  
  • Mentoring and aiding in training of junior staff
  
  • Ensuring character designs matched provided turnarounds and were to correct scale, relative to the world and other assets
  
  • Creating base meshes for junior staff to work with as a starting point, reviewing model topology and subdivision
  
  • Coordinate with production staff to strategize and meet deadlines

• Senior Asset Lead at Liquid Animation

  Brisbane, AU

  August 2019 - June 2022

  Liquid Animation is a powerhouse of international talent and expertise that has overseen the creation, development and
  
  production of animated and live action projects for clients such as Mattel, Disney, Warner Bros, Louis Vuitton, DreamWorks,
  
  Lucasfilm, Dumb Ways to Die and Powederfinger.

  Accomplishments:
  
  • Helping the company move from a tier 3 to a tier 1 contractor with Disney; This meant we no longer had to bid on
  
  contracts but were awarded them on principal.
  
  • Creating base meshes that were used across multiple projects and passed onto other studios
  
  • Worked on large productions as an Art Lead such as the Disney Wish Cruise ship, Disney Neo Watch, Disney Plus
  
  commercials and more.
  
  • Moved from a Senior position to a lead position which improved production and deliverable quality
  
  • Mentoring junior staff and seeing their career flourish
  
  • Coordinated multiple teams across several studios to meet project targets
  
  • Gained valuable knowledge about leadership and giving critique in a professional manner

  Responsibilities:
  
  • Mentoring junior staff with following guidelines and working efficiently within a projects pipeline, while under contract
  
  with a subsidiary of The Walt Disney Company
  
  • Collaborating with Technical Director (TD) and responsible for all TD requirements being met
  
  • Quality assurance checks on all deliverables and ensuring every model up to specification for Disney’s Digital Asset and
  
  Content Management System (DACMS)
  
  • Running morning scrum meetings to keep track of a given project and if any problems arise that need solving
  
  • Driving review meetings with the Technical Director and Production managers with a given Client
  
  • Documentation for projects using Confluence
  
  • Scoping projects and working with producers to ensure the team had reasonable time to undertake work mainly organise
  
  through JIRA and Teams
  
  • Leading by example by being hands on with any task at hand
  
  • Pipeline integration and improvement, reviewing software and plugins to see if they would work within a project pipeline
  
  • Creating base meshes for junior staff to work with as a starting point, reviewing their edge flow and testing subdivision
  
  • Visualizing character designs in ZBrush and Maya
  
  • Following a subdivision workflow to ensure work was render or game engine ready
  
  • Ensuring mesh density was suitable for use in Unity and Unreal and that models were also compatible with VRay’s open
  
  subdivision
  
  • Checking all character, environment and prop assets would divide to meet or be under necessary poly count
  
  • Checking all models have correct amount of deforming geometry with accurate placement for efficient and natural looking
  
  deformation
  
  • Working models and textures to be used for both in game and cinematic uses
  
  • Ensuring character designs matched provided turnarounds and were the correct scale, relative to the world and other
  
  assets
  
  • UV Mapping with Maya, Ensuring UV maps laid out coherently, packed efficiently and that UV shells retained volume
  
  when subdivided. Placing UV seams in areas that would not disrupt texturing or be obvious on final output
  
  • Directing UDIMS and RGB mats to work with scenes to be rendered
  
  • Reviewing PBR textures in engine to ensure they fit provided concept material and general aesthetic
  
  • Material setup for VRay
  
  • Utilizing VRay open subdivision workflow
  
  • Creating textures using Substance 3D Painter, ZBrush and Photoshop
  
  • Texture packing based on project needs
  
  • Using retargeting rig system to rig characters with shared animation cycles
  
  • Rigging characters and props using RapidRig
  
  • Publishing assets using Pyblish

• Senior 3D Artist at The Big Game Company

  Sydney, AU

  April 2019 - August 2019

  The Big Game Company is a Melbourne based Indie studio whose premier title is Castle Crusade which released in late
  
  2019 on the Play and Google store in Australia. Castle crusade is a card-based tower defense game where you build a team of heroes
  
  to attack or defend your castle; Think Clash of Clans meets Heroes of the Storm.

  Achievements:
  
  • Creating all characters, including rigging and animation
  
  • Furthered my understanding of the games pipeline.
  
  • Gained valuable knowledge about the principles of modeling, texturing and rigging

  Responsibilities:
  
  • High to low resolution mesh creation
  
  • Visualizing character designs with ZBrush and Maya, checking all models have correct amount of deforming geometry
  
  with accurate placement for efficient and natural looking deformation
  
  • Ensuring character designs matched provided turnarounds and were the correct scale, relative to the world and other
  
  assets
  
  • UV Mapping with Maya, Ensuring UV maps laid out coherently, packed efficiently and that UV shells retained volume
  
  when subdivided. Placing UV seams in areas that would not disrupt texturing or be obvious on final output
  
  • Ensuring all models met the criteria set out by the development team; Being poly count, file size, texture map size and how
  
  maps were to be packed and ensuring handover standards were met.
  
  • Creating textures using Substance 3D Painter, ZBrush and Photoshop
  
  • Surfacing and texturing
  
  • Texture packing based on project needs
  
  • Codifying assets to be workable in Unity
  
  • Rigging in game characters using RapidRig, limited character animation

• 3D Artist at Buy Somewhere

  Sydney, AU

  March 2016 - April 2019

  Buy Somewhere turns the world around you into a board game. Buy your dream house, your favorite cafe, a theme park or
  
  a museum. Compete with family and friends for the ownership of real-world property. Buy Somewhere lets you build your dream
  
  property empire with the most advanced geo-locational mapping ever devised. It transforms the entire world into a giant 3D game
  
  board

  Achievements:
  
  • First experience working in the Games industry
  
  • Gaining real, hands-on experience of the games pipeline from beginning to end.
  
  • Going to PAX East and seeing my work alongside big studios

  Responsibilities:
  
  • High to low resolution mesh creation
  
  • Ensuring all models met the criteria set out by the development team; Being poly count, file size, texture map size and how
  
  maps were to be packed and ensuring handover standards were met.
  
  • UV Mapping with Maya, Ensuring UV maps laid out coherently, packed efficiently and that UV shells retained volume
  
  when subdivided. Placing UV seams in areas that would not disrupt texturing or be obvious on final output
  
  • Ensuring character designs matched provided turnarounds and were the correct scale, relative to the world and other
  
  assets
  
  • Producing Character models that would be used for both in game use and for cinematic and promotional material
  
  • Prop and world asset creation using ZBrush and Maya
  
  • Character concept art
  
  • Creating textures using Substance 3D Painter, ZBrush and Photoshop
  
  • Texture packing based on project needs
  
  • Rigging in game characters using RapidRig, limited character animation