and thanks for stopping by. You’ve probably already seen a little of what I do and since you’ve reached this page of my site, I’m assuming you’d like to know a little history about me personally.
Full Bio Version
As early as I can remember, I’ve always enjoyed creating art, spending hours on end drawing whatever creations I could imagine. I even remember creating flipbooks in elementary school around the age of 7 or so, and sharing these with a classmate, as we learned from each other and helped to develop our art skills. My parent’s, seeing the love and interest I had for art at an early age, decided to enroll me in art classes.
Then came my high school years, where it was, for reasons of what seemed to be practically, I decided not to enroll in any art classes. Although I loved art and spent much of my class time engulfed in creating it, I didn’t see it to be a path I could pursue as a profession. That is until I finally signed up for my first art class, and my teacher suggested that I advance to the career arts class, even though I had not taken the prerequisite classes necessary for entry into the course. She insisted and with the permission of the staff, I was signed up and accepted. From there, any previous notions about a career in the arts drastically changed. I worked hands on and thrived in a number of different art mediums, eventually being introduced to 3D animation. It was newly developed and still in its early stages, but I was soled after that. I knew exactly what I wanted to do and I’ve been driven in that pursuit ever since.
After high school, I spent two years studying Fine Art and Art History at UL, (previously known as USL). At the time there wasn’t much in respects to a program supporting a career in 3D art and animation, which lead me to the Art Institute of Houston for a jump start into the beginning stages of my growth and development as a digital artist.
I first touched the surface of game art after the first release of Unreal Tournament. I began modifying character textures to gain a better understanding of the techniques and required specifications utilized in the process of game development.
Graduating with an Associate’s degree in Computer Animation, and still hungry for knowledge, I relocated and began working towards my Bachelor’s degree, continuing my studies at the Art Institute of Fort Lauderdale. When Maya was introduced, I dove in head first with enthusiasm. Of course the switch from 3DS Max to Maya took some getting used to, but thanks to the great professors I had, and a passion which lead to many sleepless nights of self-teaching, in a short amount of time I was able to hit the ground running. In the beginning of the transition process, it felt as if I were trying to draw left-handed, but once I found my way around, or made a way, it became more about the comprehension of the process on a base-level and less about each applications individual tools. And at that point achieving the end result was unaffected, regardless how malleable of a path the means may be.
After receiving my Bachelor’s in Animated Arts and Media at the Art Institute of Fort Lauderdale, I returned to Houston. As the industry goes, studies didn’t stop after graduation. Awaiting the release of UT 2003 (which I was thrilled to see bundled with Maya PLE), I continued to broaden my knowledge and understanding of game development with more scripting and the introduction of UnrealEd and the ActorX plugin, eventually creating a successful character mod for UT 2003.
It was definitely a humble mod to say the least, as it was my first attempt. An attempt that proved to be loaded with much of the knowledge and experience I was seeking.
I didn’t consider the character model anything special (no normal mapping at the point and a considerably low poly count) and I didn’t spend much time on the texture which is essential for game art, but I was definitely pleased with my character’s skin deformation, rig setup and completed loop sequence animations.
I worked as a freelance artist until I was hired on at Kashat Productions to work on two fully animated feature films, one of which was recently awarded first place for its entry of a rendered still. The majority of my contributions where made as Sr.Modeler and Texture Artist, although my experience also lead my involvement with mechanical rigs, dynamics (such as fire, smoke, and hair), as well as blend shapes. I worked closely with the producer and hired interior designer to conceptualize, design, model, and texture many fairly complex environments featured in the films. Scenes were of both architectural and landscape / terrain types, included necessary props and weaponry. Other models I created included various human characters (and associated blend shapes) and many animal models. I was also responsible for characters’ hair, beards, and other garments / accessories, whether developed by means of geometry modeling and/or through the use of dynamics.
From there I was hired on at TechnoMedia International as Sr.Animator. There I worked with a small team of animators (and close association with the programming department) to produce several training modules for Oil and Gas Engineers, illustrating to and educating professionals on technology, various procedures and techniques used for Heavy Oil Extraction. I was also responsible for editing and compositing numerous animations and motion graphics for API’s Trailer/Teaser which was showcased at the 2006 OTC (Oilfield Technology Conference) of Houston.
Fervor & Impetus
At the end of 2006 I relocated to Austin, giving rise to many career opportunities in the Industry, while keeping up with and embracing the advancements of technology; which is, of course, the all-too-fimiliar yet intriguing nature of the beast. From there I began working with the experienced crew at Pixel Mine Games, where much of the focus was on outsourcing for Unreal and art asset creation for a couple of in-house games. I also continued my experience as a freelance artist, community & indie involvement with character and weapon development, until a few of the original westwood founders offered me an opportunity to help introduce and establish the technical art department for their new start up company, Petroglyph Games. I quickly picked up MaxScript, created toolsets and a solid foundation for their pipeline, which became a keystone in streamlining production for the entire Art Department. There we worked on production of Mytheon (MMO-RPG) & End of Nations (MMORTS) where I had the privilege to work and play along the side of some great individuals, of both personal character and profession talent. I am currently working with the Treyarch / Activision crew in Santa Monica on the new series in the franchise, Call of Duty: Black Ops II. Animation, AI, Mocap, MotionBuilder & Python has been the name of the game. I’m enjoying and embracing the challenges & growth that lay ahead. Please check back often, and I’ll try my best to keep things updated and posts current around here. I hope you enjoy the site and feel free to contact me with any questions, comments, etc.
“Know your limits only to break your limits.”
“Without Mathematics there is no art”
Last Updated: 2012.10.28