Demo Reels

  • On the Vision Pro development at Apple, I designed UX experiences in a cross-collaborative, iterative design environment, managing internal communications, rapid prototyping, designing user experience, creating new features, driving innovation, product design, and crafting a strategic vision for IOS and across the Siri org.

    • Created UI/UX prototypes, interaction designs, and User studies that accelerated visual and software design decisions that resulted in intuitive user experiences that shipped with Vision Pro.

    • Led brainstorming efforts to establish product vision based on customer insights, drive innovation based on emerging technical capability and identify new business development opportunities.

    • Inventor on patent: Digital assistant for providing visualization of snippet information US 12136172 Issued Nov 5, 2024.

    • Inventor on patent for Methods for quick message response and dictation in a three-dimensional environment US 20230315385 Issued Oct 5, 2023.

  • On Apple Intelligence development at Apple, I designed 40 projects in a cross-collaborative, iterative design environment, managing internal communications, rapid prototyping, designing user experience, creating new features, driving innovation, product design, and crafting a strategic vision for IOS and across the Siri org.

    • Created numerous LLM-driven AI design concepts and demos showcasing how LLMs and LAMs can enhance Siri's capabilities, including conversational Siri, contextual Siri, real-time translation in FaceTime, Talents, and user recognition features.

    • Created UI/UX prototypes, interaction designs, and LLM studies that accelerated visual and software design decisions for IOS, iPhone, iPad, and wearables that resulted in intuitive user experiences that shipped with Apple Intelligence.

    • Led brainstorming efforts to establish product vision based on customer insights, drive innovation based on emerging technical capability and identify new business development opportunities.

  • For Monster Hunter World: Iceborn VR Walk, I directed art, design and production in cross-collaboration to deliver assets for a walkaround XR ride that opened at Universal Studios, Japan in 2023.

    • I directed art, rigging, animation, UX/UI, and the integration pipeline for Virtual Reality LBE assets.

    • I served as a Character Lead creating Models, Materials, Cloth simulations, Rigging, Animation, processing Motion Capture, processing Facial Capture, and managing integration in Unity.

  • At SPACES, I served as the Principal Artist where I directed art, design, UI/UX, Animation, corporate brand management, creative strategy, technical art, outsourcing, asset supply chain, and QA cross-collaboration for B2B and B2C XR retail experiences and theme park rides 

    • Designed and developed processes for marketing, art, animation, rendering, and integration pipeline for Virtual Reality LBE storytelling experiences.

    • Developed data-driven analytics/simulation tools to facilitate continuous improvement of our location-based theme park throughput and consistent ride efficiency.

    • Character Specialist, Model, Material, Cloth, Rigging, Animation - Motion Capture Specialist, Facial Capture, Processing, and Integration in Unity for VR interactive experiences.

    • UX/UI Specialist, Digital art, Graphic Design, Wireframe, System Design, Scripting, Focus Testing.

    • Inventor on patent: Method and system for calibrating a virtual reality system US 10176638. Issued Aug 1, 2019, Jan 2016 Aug 2020.

  • At DreamWorks Animation, I served as the Animation Art Lead. I was responsible for design development, visual communication, and production pipeline for special projects in the DreamLab R&D division, specializing in Augmented Reality and Virtual Reality experiences. Collaborated with DreamWorks Animation marketing, promotions and publishing on over 33 projects.

    • Developed and managed internal and external art, animation, and production in Unity for interactive VR experiences.

    • Oversaw Artistic standards for VR fabrication and installation at touring locations and trade shows.

  • At Heavy Iron Studios, I served as the Principal Artist where I directed the character, environmental art, and user interface teams. I set core technical art standards, directed asset integration, external development and budgets. For the UI teams, I developed navigational frameworks, scripting interface logic, localization, scripting sound events and 2D and 3D art assets.

    • Doubled team performance by re-designing the development pipeline and team analytics.

    • Directed efforts to surpass 60 fps as a technical quality standard for Xbox360, PS3 and Wii.

Design

  • Apple Intelligence
    2024

    Apple, Inc.

    As Lead Designer in the AIML Future Experiences team, was responsible for leading brainstorming efforts to establish product vision based on customer insights, drive innovation based on emerging technical capability and identify new business development opportunities. I designed and created ULM, FM, and LLM-driven concepts and demos across multiple platforms. I identified disruptive, game-changing big bets that require enhanced SoC features. My demos and presentations to leadership succeeded in forming alignment across the AIML org.

    ‘Apple Intelligence’ is © (copyright) 2024 by Apple, Inc.

  • Vision Pro

    Apple, Inc

    As lead designer in the AIML Future Experiences team, I created UI/UX designs, interaction studies, and functional VR protypes that accelerated visual and software design decisions and defined the Siri experience for Vision Pro.

    Vision Pro is © (copyright) by Apple, Inc.

  • The Incredibles 2: Rise of the Underminer
    2005

    Heavy Iron Studios

    This is the HUD (Head-Up Display) concept created for  'The Incredibles 2: Rise of the Underminer' 2005. I Conceived, animated and scripted the UI using proprietary software. The biggest challenge was to create a visual language that supported cooperative gameplay for solo or multi-player and also supported hot-swapping roles and allowing instant player add/drop. I designed, scripted and validated all UI mechanics and navigational framework. Additionally I assisted with additional environmental art support. 

     Event Scripting  50%
    Environments & Visual FX 50%
    UI Design 100%
    HUD Scripting 100% 

    'The Incredibles' © (copyright) by  Disney/Pixar. 'The Incredibles: Rise of the Underminer'- the Video Game and all related images are © (copyright) by THQ, Inc.

  • Transportopia
    2014

    Niantic Labs

    A joint venture with Google and Niantic Labs to make a location-based mobile game that allowed people to learn about Los Angeles and its history of Film Noir by solving a virtual whodunnit while physically touring the city. I designed the UI logic and artistic look and feel. 

    'Transportopia' and all related images are © (copyright)  by Google and Niantic Labs

  • Robot Race
    2012

    Easley-Dunn Games

    In my design work for Robot Race, I focused on racing balance and course challenges. Each world has three levels of difficulty and also contains a variable speed mechanic that keeps the races close and exciting, without creating any unfair handicaps. Additionally I created an analytics system to measure and improve customer acquisition and monetization. I also directed technical requirements, localization standards, and directing the integration of all art assets. As of Oct 2019, Robot Race ranks #850 top grossing racing game and averages 1000+ Monthly downloads in 155 territories. 

    All characters are  © (copyright) by Easley-Dunn Games, Inc.

  • Style Studio
    2010

    Real Life Plus

    For Style Studio I created an Avatar face and body customization system using morph targets.  Clothing also morphed along with body shapes. Instead of making several types of collared shirts, we created several base shapes that combined could deform to mimic any conceivable style of clothing. Not only did this save the need to create hundreds of clothing archetypes, but it also created a vastly scalable pipeline and a light app footprint.

    Recruited and Managed Team
    Production
    Art Direction
    Technical Art Direction

    'Style Studio', all characters and Morph Target system  are © (copyright) 2010 by Real Life Plus, Inc.

  • Wyldstyle Basketball
    2013

    Easley-Dunn Games

    Wyldstyle Basketball is a basketball tournament game for iOS and Android. My Focus on Wyldstyle Basketball is on designing the core basketball experience, opponent AI and monetization. The decision trees above measure action based upon probabilities derived from historical statistical averages gathered from the National Basketball Association. The graphs above are visual representations of the math driving the opponent AI for the purpose of interactive game balance - these can be rapidly modified based upon numerous factors including distance from the basket, time remaining on the shot clock, time remaining in the quarter and individual player stats.

    'Wyldstyle Basketball' and all characters are  © (copyright) by Easley-Dunn Games, Inc.

  • Ninja Warrior
    2013

    Marvelous AQL

    In addition to designing the UI and validating navigational framework, I directed  efforts toward the study and focus testing of the size, placement and iconography of the UI in an effort to optimize monetization. Ninja Warrior reached #19 in top paid apps for iPhone in June of 2013. Other duties on Ninja Warrior included Managing the art team, setting core technical and aesthetic standards for the studio, and overseeing all internal and external art assets.

    'Ninja Warrior' © (copyright) by  Tokyo Broadcasting System Television, Inc. 'Ninja Warrior' - the mobile game and all related images are © (copyright) by Marvelous AQL

Art

  • Dreamland - Songcheng Theme Park, Hangzhou
    2019

    SPACES, Inc.

    This is the wizard Zhurong, a mystical guide who aids guest's journey through Songcheng Dreamland VR Experience, which opened June 2019 in Hangzhou, China. For Dreamland I was responsible for creating and managing the character pipeline, directing and managing 3rd party character models, internal rigging and integration, traditional animation, motion capture and facial animation. My pipeline was able to quickly integrate several hours worth of actor performances that often included body motion, facial performance and voice over.

    'Zhurong' © (copyright) by  Songcheng Performance Development Co., Ltd. 'Dreamland'- the VR Experience and all related images are © (copyright) by Songcheng Performance Development Co., Ltd.

  • Dreamland - Songcheng Theme Park, Hangzhou
    2019

    SPACES, Inc.

    This is Mengji, a mystical guardian beast who tries to defeat the guests in the Songcheng Dreamland VR Experience, which opened June 2019 in Hangzhou, China. For Dreamland I was responsible for creating and managing the character pipeline, directing and managing 3rd party character models, internal rigging and integration, traditional animation, motion capture and facial animation. In addition to human bipeds, I also rigged a number of beasts.

    'Mengji' © (copyright) by  Songcheng Performance Development Co., Ltd. 'Dreamland'- the VR Experience and all related images are © (copyright) by Songcheng Performance Development Co., Ltd.

  • Terminator Salvation: Fight for the Future
    2019

    SPACES, Inc.

    This is a marketing piece I painted for the Terminator Salvation VR Experience. As Principal Artist I was responsible for character art environmental art, design and the character rigging and animation pipeline and leading the LBE development team in an Agile environment. Corporate brand management and art direction for all products. Developed analytics/simulation tools for LBE throughput and studio project efficiency.

    'Terminator Salvation' © (copyright) by  The Halcyon Company. 'Terminator Salvation - Fight for the Future'- the VR Experience and all related images are © (copyright) by SPACES, Inc.

  • DreamWorks VR
    2015

    DreamWorks Animation

    Panda Zen VR was a Marketing VR Experience built by DreamLab, an internal research and development lab, to promote the release of the animated feature KungFu Panda 3. I was responsible for leading the DreamLab art team and setting core aesthetic VR standards in the area of UI/UX, modeling, rigging, lighting, vfx, and animation techniques. I directed domestic and foreign project outsourcing through online resources and through cross departmental channels at studio locations in 3 cities.

    'KungFu Panda 3' © (copyright) by  DreamWorks Animation. 'Panda Zen' - the VR Experience and all related images are © (copyright) by DreamWorks Animation, Inc.

  • Terminator Salvation: Fight for the Future
    2019

    SPACES, Inc.

    This is a T600 Terminator that I rigged and animated for the Terminator Salvation: Fight for the Future VR expereince. As Principal Artist I was responsible for character art environmental art, design and the character rigging and animation pipeline and leading the LBE development team in an Agile environment. Corporate brand management and art direction for all products. Developed analytics/simulation tools for LBE throughput and studio project efficiency.

    'Terminator Salvation' © (copyright) by  The Halcyon Company. 'Terminator Salvation - Fight for the Future'- the VR Experience and all related images are © (copyright) by SPACES, Inc.

  • UP
    2007

    Heavy Iron Studios

    This is the original benchmark test for the Rock Garden level from Disney/Pixar's "Up" the game. The scene uses HDR, DOF, and Dynamic shadows for characters. I designed a pipeline that enabled us to export multiple assets to Xbox 360, PS3 and Wii without having to branch the levels. I also oversaw an effort to achieve a framerate of 60 FPS on all three consoles, unprecedented at Heavy Iron studios. 

    Managed Team
    Modeling: 50%
    Textures: 50%
    Lighting: 50%

    'Up' © (copyright) by  Disney/Pixar. 'Up'- the Video Game and all related images are © (copyright) by THQ, Inc.

  • Toy Story 3
    2007

    Heavy Iron Studios

    This is the Train Heist Level from a Toy Story 3 Game Demo that was submitted to Pixar in November of 2007. The demo featured 3 fully playable environments, cinematic cut-scenes. 

    Managed Team
    Modeling: 50%
    Textures: 50%
    Lighting: 50%
    User Interface: 100%

    'Toy Story 3' © (copyright) by Walt Disney Pictures. 'Toy Story 3' Demo' - the game and all images are © (copyright) by THQ , Inc.

  • SpongeBob SquarePants: Truth or Square
    2009

    Heavy Iron Studios

    SpongeBob SquarePants: Truth or Square which shipped in October 26, 2009. On this title I served as the Director of Outsourcing. It is noteworthy that nearly every art assets in the scene pictured was outsourced to both foreign and domestic vendors.  Overall, nearly half of all assets were outsourced for this title. 

    Directed all studio  outsourcing
    Managed team of 30 artists
    Oversaw technical, localization issues
    Managed  outsourcing budgets

    SpongeBob SquarePants' © (copyright) by  Nickelodeon. 'SpongeBob SquarePants: Truth or Square'  - the video game and all images are © (copyright) by THQ , Inc.

Production

  • Production Pipeline
    2007

    Heavy Iron Studios

    As Principal Artist, I authored this development pipeline to coordinate team efforts and to visually expose inter-departmental dependencies to all team members. Once implemented, the amount of re-work and wasted assets drastically lowered. Additionally, all project milestones hit their delivery dates despite several script re-writes we received from Pixar. This pipeline improved the overall efficiency of level production and secured the iteration time required to ensure the high quality standard demanded by Pixar Animation Studios.

    Pipeline is  © (copyright) by Heavy Iron Studios

  • SPACES, Theme Parks and Attractions
    2019

    SPACES, Inc.

    At Spaces, I was responsible for directing and managing all outsourcing for branding, print media, and real time assets. In addition to directing 3rd party developers, I oversaw planning, budget, implementation, and quality assurance of all deliverables.

    'Zhurong' © (copyright) by  Songcheng Performance Development Co., Ltd. 'Dreamland'- the VR Experience and all related images are © (copyright) by Songcheng Performance Development Co., Ltd.

  • UP
    2008

    Heavy Iron Studios

    In addition to managing the art team for Disney/Pixar's "Up" the game, I also designed a pipeline that enabled us to export multiple assets to Xbox 360, PS3 and Wii without having to branch the levels. This effectively meant that all art assets had branching properties that created two distinctly different artistic directions that were aimed at different core audiences, one for the Xbox, the other for the Wii, yet the assets could be managed within a single repository. The final product shipped simultaneously for Wii, Playstation 3 and XBOX 360 in over 40 countries in 2008. 

    Managed Team
    Modeling: 50%
    Textures: 50%
    Lighting: 50% 

    'Up' © (copyright) by  Disney/Pixar. 'Up'- the Video Game and all related images are © (copyright) by THQ, Inc2.

  • Rubber Bandito
    2012

    Cold Dish, LLC & Illuminated Entertainment

    This is a mockup for the end of level sequence for Rubber Bandito, iOS and Android. The game featured 5 fully playable environments, 25 levels and cinematic cut-scenes. Recruited and directed a team of 15 developers with overall responsibility for schedule and milestones. I created production pipeline to manage external development for decentralized members of the team. I was also responsible for leading the user interface teams, validating navigational framework,  addressing technical requirement and localization standards, and overseeing all art assets. 

    'Rubber Bandito' and all characters  are © (copyright) 2012 by Cold Dish, LLC & Illuminated Entertainment.

  • Robot Race
    2007

    Easley-Dunn Games

    For Robot Race I created a development pipeline and directed a team of 10 decentralized developers with overall responsibility for schedule and milestones. I wrote and managed use cases, business cases and scope management plan. I directed the Design and UI/UX team, overseeing design issues and ensuring game balance,  validating navigational framework,  and wrote test cases for QA. Additionally I created an analytics system to measure and improve customer acquisition and monetization. I also served in the role of technical artist, addressing technical requirements and localization standards, and overseeing the integration of all art assets. As of Oct 2019, Robot Race ranks #850 top grossing racing game and averages 1000+ Monthly downloads in 155 territories.

    'Robot Race' and all characters are  © (copyright) by Easley-Dunn Games, Inc.

  • Mermaid Cove
    2010

    Real Life Plus

    As Executive Producer I recruited and directed a team of 14 developers with overall responsibility for schedule and milestones. Created production pipeline and set core technical and aesthetic standards for the studio. For Mermaid Cove I focused on production, outsourcing and art direction. I developed the production pipeline for characters, animation and game assets for a Unity3D powered  MMO casual game. 

    Recruited and Managed Team
    Production
    Art Direction
    Technical Art Direction 

    'Style Studio' and all characters  are © (copyright) 2010 by Real Life Plus, Inc.

  • Style Studio
    2010

    Real Life plus

    For Style Studio I also directed the clothing pipeline. We created tools that allowed users to design and apply their own original fashion patterns to their entire clothing inventory. Because clothing  morphed along with body shapes, we were able to create fashion archetypes that could be combined into any conceivable style of clothing. Every single outfit in the app was user generated and .

    Recruited and Managed Team
    Production
    Art Direction
    Technical Art Direction


    'Style Studio', all characters and Morph Target system  are © (copyright) 2010 by Real Life Plus, Inc.

  • SpongeBob SquarePants: Truth or Square
    2009

    Heavy Iron Studios

    Spongebob Squarepants: Truth or Square shipped in October 26, 2009. On this title I served as the Director of Outsourcing. It is noteworthy that nearly every art assets in the scene pictured was outsourced to both foreign and domestic vendors.  Overall, nearly half of all assets were outsourced for this title. 

    Directed all studio  outsourcing
    Managed team of 30 artists
    Oversaw technical, localization issues
    Managed  outsourcing budgets 

    'SpongeBob SquarePants' © (copyright) by  Nickelodeon. 'SpongeBob SquarePants: Truth or Square'  - the video game and all images are © (copyright) by THQ , Inc.