I was brought on to an unannounced project, to explore the early stages of development, to expand on what was established in the IP, this meant concepting a wide breadth of subject matter from environment, creatures and characters. It was a fun challenge to expand the universe yet still adhere to the ideas established. I was the sole concept artist on the project in-house, this provided me with a new level of responsibility and ownership, which I found highly rewarding. In addition to this, I also did some work for Sea of Thieves that was outsourced to Auroch, it was interesting to see the development made from my time interning at Rare.

In my time at Mediatonic I worked on 3 projects, one notably being Fall Guys, the art direction enjoyable to work on with minimal bold shapes to convey a bubbly colourful world, I provided early season ideation, prop designs, costumes and obstacle paintovers. It was a truly rewarding project to work on during the covid outbreak in the process of working on it and the response it had.

My time in Play'n GO has been valuable in developing my skills in creating highly polished 2D assets for production, such as UI and environments to engage and immerse the player. Working in a small team allowed for more creative input on the look of the games, which is something I have not shied away from, whilst always being open to learning.

This was my first experience being an active part of a studio, I joined after the release of Sea of Thieves and I contributed to some seasons with mostly prop designs that met time constraints and the quality of art direction. I have also thoroughly enjoyed all the learning I acquired from my colleagues, the collaborative nature of sharing and discussing ideas inspired larger perspectives when dealing with tasks.  

This was a student project run by Disney Research, this project involved creating a VR cinematic experience that needed to demonstrate developments in VR Tech. On successfully qualifying as the lead concept artist, my role consisted of creating concepts and maintaining the translation of the designs to 3D. Designing to demonstrate such developments in VR tech allowed for interesting design problems to overcome. The experience of having a lead role in the project enabled me to greatly develop my problem solving and communication skills.

To qualify for the Axis Animation mentoring scheme I had to complete an art test, creating environment concepts focusing on a dystopian mech shop in three varied styles of art direction, ranging from realistic to stylised. This required adapting to existing styles. Upon successfully attaining the mentorship I made weekly visits to the studio where I gained constructive criticism on my university work and gained an insight into industry practices.