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  • I have been modeling for a number of years. Even while I am not a hardcore modeler, and do not attempt to be one either, I can help myself out just fine in packages like 3DSMax and to an extend Maya. The various artwork I have done for my levels and games and on the Art page are an example of that.

  • I have a strong technical understanding of the whole modeling pipeline. I understand how to optimise the workflow for modelers, and what the hardware/engine requires from the models. Unmechanical, a PC game that I converted the level and art assets for, runs iPad2 era hardware at 30FPS solid with graphics near identical to PC (including normal maps/specular/color correction). I have done similar work for various other projects. Because of my strong understanding of the engine I usually end up safeguarding all art assets that go into the games I work on to ensure they are technically correct.

  • I am very capable at working with Photoshop and have over a decade experience in it.

  • I have create three free texture packs around 2004, and I have created hundreds of textures for all of my levels and games throughout the years.

  • I am very well versed in the Unreal material editors, and used those extensively.

  • I have a passion for lighting environments. Lighting really takes an environment to the next level in my opinion, and greatly aids the atmosphere and feeling of an environment.

  • I have worked with the lighting system of various engines, as well the system found in both Maya and 3DSMax and renderers like Mental Ray. I worked a number of months as a cutscene lighting artist for the Killzone cutscenes for example, work I did entirely in Maya.

  • I have lit every single level and environment I have ever made, using a wide range of different lighting techniques. My views on lighting are detailed in my level design book. The chapter on lighting is one of the most extensive chapters in the book.

  • I have lit dark and bright environments, realistic and unrealistic environments, outdoors and indoors, and so on.

  • I have created 1000+ particles throughout the years, both environment particles and gameplay particles.

  • Besides the dozens of particles I have made for my levels, I was also one of the Special FX artists on the game "The Chronicles of Spellborn", I did a short Special FX a contract for the studio VStep, and for "The Ball" I was the sole Special FX artist and made 99% of all the effects in the game.

  • For the game "The Chronicles of Spellborn" I have also created a number of very large and complex storms (magical storms and chemical storms), often enveloping entire levels. These storms made great use of advanced materials and many particles.