Roguh test helmet made in Sculptris, decals and dirt added in Photoshop.



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An old concept image but one I still like.

Personal concept work. Still WIP: pending lighting and atmospheric effects.

BODYCOUNT ART DIRECTION - TARGET FACTION

The TARGET are the main enemy faction in BODYCOUNT. I designed them to be completely harsh and angular. There isn't a single curve or circle in their equipment or architecture, which was extremely awkward but fun to do. I wanted to get some giant minimalist typogrpahy in the stages to overwhelm and surprise players, a key influence for this idea was Bauhaus poster design.

TARGET structures were mainly designed to be telescoping underground bunkers and machine towers, which I named MECHALITHS when I was designing them. They are called NEXUS' in the game.

TOWER deployed under building 2 in the Military Compound stage.

I painted this quite early on and it was the basis for several other designs.

This image shows the theme of bands of tone or colour I wanted to get into the interiors to break up forms.

This totalitarian style was inspired by the Naval dazzle camouflage of Sir Norman Wilkinson from WW1. 

Large computer and command rooms broke up corridors and gantry systems provided overhead combat options.

This room's ceiling was inspired by mid-century modern design, and the architectural work of Louis Kahn.

This was a design I produced to investigate the chevron banding and machine elements I wanted to see in to the interiors.

I painted up a number of interior surfacing and architecture guides for the environment artists.

This one shows an 8m high column made of two column components clipped together.

I had the idea to use our glass tech system to panel the walls of the TARGET interiors.

This image shows my pre-visualisation for how the interiors would look after a shootout.

I was very keen to get extremely bold red interiors in the game: these can be seen in reactor rooms.

BODYCOUNT ART DIRECTION

I worked with the graphic design company 'ROSIE LEE' providing framing and external feedback on the logo design.

BODYCOUNT is a first person shooter I worked on for CODEMASTERS between 2009 and 2011. It was the most challenging project I’ve ever worked on, but the one I have learnt the most from.

I started as the Art Director in November of 2009 and set a style with the Creative Director for a game that would be inspired by the strong silhouettes and larger than life proportioning of comic books.

I also wanted the visuals to stand out from the crowd and to match the retro arcade sensibilities of the gameplay so I went all out for COLOUR. Ultimately that became a major marketing angle along with the design work I did for the covert enemy organisation in the game. Another motivation was that I knew we could make a game that looked like the concept paintings. We wanted to achieve a hand crafted art look... and for the most part we achieved it as the images below show.

I think the best lesson I'll take away from the project is that we had the courage and determination to try something visually different in the most crowded genre in the industry.

KEY ART - WE DID THIS IN ABOUT 10 DAYS. I DID MOST OF THE MAIN PAINTING WITH SUPPORT FROM CHARACTER AND CONCEPT DEPARTMENTS.

This was my first environment painting on the project. I wanted to investigate colour and surfaces. It's the African City Streets (minus the propping and debris passes). It was based on a french colonial look rather than a more modern style.

I painted this in about 3 days flat out. It shows the Pirate Bay stage.

I worked on this Mine painting with Rasmus Jorgensen. I set the composition and colour work. Ras did the underpainting and character sourcing etc and then I did an overpaint later to bring it in line with the other marketing paintings. I added a lot of smoke and debris and a new grade.

This was another 3-4 day painting and it shows the Asian Fishing Slum, which I also drew up the plans for, and directed

the gameplay and aesthetic propping passes on. I really loved working on this piece, even thought time was tight.

This is another shot I worked on with Ras, it shows a view of the Ice House in the Asian Fishing Slum stage.

I worked on this with vincent Jenkins, I set the composition and lighting info.

Vinny worked up the main body of the shot and then I polished it up for print.

OFFICIAL XBOX COVER IMAGE.

I directed this image across the character, concept, guns and marketing departments and did clean up onthe character render, gun render and border.

This is EDGE cover we were on.

This was the art used for the EDGE cover. The model was produced by the character art team, and I did the paint over.



This was the massive artwork used on the left staircase at E3 2011. My character design.

Sean Hood did the type and logos. characters were built and posed by the character team.

Stairs at E3 2011. It turned out well. Our machines were struggling to handle an image this size. Great fun to see it in person.

PERSONAL CONCEPT WORK - 2005

WEHRMACHT MECHANISED GRENADIERS ENTER LONDON UNDERGROUND RUINS

This piece was a personal idea based on WW2 just continuing, and the allies being fought back after a German 'BOMB' was
perfected and used. I wanted it to look dusty and ruined as if they were arriving some years later to survey their handywork.

CHARACTER ELEVATION

Created for a competition, where the goal was to redesign a classic cartoon character. 14 days work.

This was a study in detail and weight and weathering.
I was thinking of construction vehicles and Running Man's 'LAST YEARS WINNERS' when I painted it.

'MOTHER GREEN'

This was a vehicle concept I was working on based on Vietnam photogrpahy and tilt-shift vtol vehicle concepts.
It's mostly built in Maya over roughly10 days and has minor post-tweaks in Photoshop. It remains W.I.P. 2005

SIDE ELEVATION OF A RACING FIGHTER.

I'd been thinking about how seaguls bank and swoop and wanted to draw a vehicle that
had two free articulated wings so it sould scoop air and turn in impossible arcs.

ARTIFICIAL CURIOSITY 

There's not really a narrative to this piece.
I just liked the idea of a big simple robot being fascinated by an innocent creature
doing something it didnt understand (eating). I was thinking about 'OF MICE AND MEN'

'VALKYRIE' THE EYE IN THE SKY

This piece was for a personal project (ongoing) where WW2 just keeps going like in
'THINGS TO COME' by H.G.WELLS. I thought of German P.O.W. women being
trained as long range snipers to stem the Red Wave because of dwindling manpower.
There would have been some dark blackmail type motivation employed to coerce them

GOLAN WATCHERS

I had this idea about a scorching hot dusty day somehwere in the middle east, with giant inert robots keeping the 'peace'.

VATICAN GUARD

This was speculative work for Clive Barker.
It was for JERICHO before it was signed and I had the idea of
making Vatican Guards into ceramic armoured spec-ops guys.

'VIVE LA FRANCE' - FRENCH AIR MARINE

Literally a flight of fancy, this clunky armoured French paratrooper was for a game idea I had
been looking at for a few years, again based on the idea of a war (WW1) simply continuning.

 B4Udie

I made this cover up over a day or so, it was just an idea based on playing with language and
typography. It was produced in 2004 and I liked the idea of robot guns sat on top of buildings
they'd claimbed up to get a better shot at airborn agressors. I was thinking of Appleseed then.

 BAND POSTER - 'THE RED WELL'

This was a quick poster I made up for a friends band. It used an oil paiting I had done years back for an art school project.
I still reall liked the colours, and I'm pretty certain I had the cover for the 'WATCHMEN' in the back of my mind. 2003

CHARACTER DESIGN 2008

Character work for an unreleased title, these were investigations into characterisation and rendering styles. The idea was to find out if we wanted to go with a toon shader look, or (as I preferred at the time) to go with a set of caricature proportions and stylised high detail texture finish. These two were based very loosely on Paul Senior from O.C. CHOPPERS Steve Buscemi from mixed with William H Macy from Fargo. I had the idea to use Sebastian Kruger's work as a reference point for messaging.

KLEET AND GATOR - TOON

KLEET AND GATOR - STYLISED HEAVY METAL

'BURNOUT PARADISE' 2007 EA GAMES

As well as working with a 40 man outsource team onsite in India to deliver environment assets I worked on a set of freeway dressing objects. Mostly these assets were used to break up uninterrupted blue sky on the upper tier of freeways, but I also designed a set of road-wide collars to conceal the joins where different sections of geometry met. These were all tight on budget and had to have good silhouettes.

'BLACK' 2005 - 2006 EA GAMES

In 2005-2006 I worked on BLACK for Criterion Games. I managed construction of two of the 8 stages, and fully crafted zones within each stage.

The U.S. release cover is on the left, the U.K. release cover is on the right, I contributed modeling work to the logos.

PERSONAL WORK

TIVLIZ ASYLUM APPROACH

I built the stages in the videos below and everything in them. The Best achievements in the first video were eaxpanding the stage footprint by 60% in the last fortnight of production, creating complex geometry for the time to represent giant junk piles, high level of destrucive assets and hand painting and tinting custom light maps to represent oil soaked terrain, and boosted shadow areas.

NASZRAN FOUNDRY ENDING 

Despite being a bit dark these videos show the large smelting rooms and machine shops that were the main areas of the end environment from the foundry stage. The final room had more dynamic glass than other game area at the time. It held up really well and rewarded players for stray bullets with showers of glass and sparks.

This was the final room in Foundry stage. I loved the big smelter towers and the crane. You can see there was a lot of glass.

LOW POLY PS2 PROPS

PROP TEXTURES PS2

LOW POLY ENVIRONMENT DRESSING PROPS. LIGHTWAVE FOR PS2