Illustrator and 2D Artist based in Toronto, with experience in mobile games and television animation. Currently interested in artistic opportunities in video games, tabletop RPGs and other entertainment avenues, especially in concept art and production art.
> Created commissioned art pieces for various private clients, ranging from sketches to fully rendered artwork. Examples of pieces include personal character art, emotes, streaming slide images and gaming recruitment advertisements.
> Negotiated timelines and pricing with said clients on the scope of their commissioned pieces to the satisfaction of both parties. Consistently able to deliver on time or early to the satisfaction of the clients.
> Designed advertisements to brief potential private individuals on commission prices, and terms of service. This is in addition to a written, detailed ToS on Google Docs that can be accessed by potential clients.
> Planned and produced personal art pieces to maintain and improve artistic skills, prompted by trends online, known art challenges (drawtober, creatunary, etc), personal evaluation in areas of improvement.
> Ensured online portfolio and art platforms were up to date with personal projects in addition to any freelance or industry projects.
Designed advertisements to direct users to various, personal artist platforms, such as Patreon. This is in addition to graphics such as banner images and user icons.
> Developed and maintained a personal schedule using Google Sheets, outlining daily, weekly and monthly tasks and goals, tracking productivity. This schedule is evaluated monthly and adjusted accordingly to improve personal artistic skills and efficiency.
> Created production-level artwork of cute/’chibi’, child-friendly characters, creatures, gear, weapons and other various objects and assets, initially in a pixelated art style using Photoshop.
> Digital painting of map assets, splash pages, promotional art in Photoshop.
Vector art production of promotion art using Adobe Illustrator, then Affinity Designer.
> Involved in the conversion overhaul effort of the game’s pixel art style into the painterly ‘Raster’ art style, followed by an additional conversion to a vector art style.
> Continuation of developing pixel art assets and icons for the existing game build.
> Created concept art and production art of cute/’chibi’, child-friendly characters, creatures, gear, weapons and other various objects and assets in a pixelated art style using Photoshop, followed by animating various characters and creatures in Spine.
>Receiving approved designs and built a variety of characters, costumes and props for Hasbro's "My Little Pony: Friendship is Magic" Seasons Eight
>Frequently worked with up-to-date template builds, recoloring the template as needed and adding in any specific features such as the hair, the tail, and any props/costumes. Built new blinks or mouth charts upon receiving the approved designs. Also did palette swaps as well (for crowd incidentals.
> Processing the daily to weekly deliveries received from Disney, which included all designs (BG, builds) and animation revisions.
> Kept track of all the builders and their quotas, what assets were complete, in-progress, or on-hold (usually due to client-side delays)
> Communicated progress daily to weekly between the production managers and builds supervisors.
> Communicated with Disney's coordinators on upcoming deliveries, design questions/concerns, and following up on any delayed design materials my team needed.
> Setting up Flash files for our builders (taking the PSD files from Disney, exporting the PNGs, and importing them into a template FLA).
> Breaking down any EFX PSDs sent by Disney, inspecting each layer of its properties in Photoshop, and then providing a breakdown of any particular settings/swatches in new, grouped layers that would communicate the translation to Flash to our EFX animators.
> Communicating and sending/receiving prop assets to a studio in India to assist us with the extremely extensive workload.
> Assigning animation scenes between our animation revisionists, their supervisors, and our AFX artists.
> Provided up-to-date communication between members of our studio crew, third party sound production providers, and our client.
> Kept our Excel schedules and revision documents updated, as well as transferring any revisions from Excel onto B.Net (our intranet network)
> Performed IQC (internal quality control) as each episode enters that stage.