I started as the only prop artist on the team to help define and document the pipeline

for environmental props in our project UE5 Nanite), with high quality and

consistency across our assets in mind, whithout forgetting performance and

efficiency when creating our kits and props. Most work here was focused on flexible

environmental kits and give level artists all they needed to succeed, and while there

was room for some unique props I also helped a lot with set dressing. I also had the

responsibility of helping manage and give feedback to the external artists that

jumped in to help on key milestones of our production, and I'm very proud of the

work we all delivered.

Later I moved naturally to an environment artist role, becoming the owner of a whole

level in our game. I collaborated closely with our art director and environment lead in

delivering the best art we could, and with the level design and narrative teams to

make sure their vision and intention was clearly reflected and empowered by the art,

and gave a big importance to the storytelling of each area. I was hands on in creating

art from blockout to final, kept our kits reusable and performant and helped the

artists collaborating with me on the level be successful in the areas they were

responsible for.

Worked as an environment artist with InGame Studios on the release of Crimeboss: Rockay City, with the responsabilities of level dressing, creating both modular kits and unique props.

I have been collaborating as a contractor with Dekogon in various projects, creating a wide variety of props that always stand up to the high quality and attention to detail the studio is widely known for, while adapting to the different workflows working in diverse projects requires and always giving importance to the technical side of asset work and delivering clean and organized files. I would highlight working on Remnant II and 7 Days to Die from a big variety of other projects.

I've worked with Leartes creating props and environments for various projects, both for their internal projects (marketplace assets) and as an outsource partner for games like Empire of Sin (Make it Count DLC) and Illuvium.

Although I'm not a lead artist myself, I had the responsability of leading and helping a small team of artists in reaching the quality bar for our projects, creating documentation and benchmark assets, and managing the tasks for various projects.