My work as a Visual Designer embraces two parts: Art and Integration. I am responsible for establishing an art direction, if needed, and creating targets for the rest of the team to follow. Documentation that is constantly updated is extremely important because it is a vital communication channel. With each design it’s equally important to consider integration. How are we going to build and manage a feature between the start and the end of the project, and beyond. Once again, I believe that documentation is crucial to align coders and scripters with the design team.
Here are some examples of my methodology.
Art Direction I believe that it’s important to provide direction to the artists and also inform them on the execution. Mood boards and visual targets are a powerful resource when complemented with a design breakdown. This is specially useful for external contractors that might be working cross continents.
Building Blocks In order to have a centralized and consistent look for all interactive elements (and across multiple technologies) I developed a “LEGO” approach to building buttons. It’s centralized yet flexible at the same time. There are a limited number of blocks (A) to build any number of buttons. Each block has a centralized behavior (B) which guarantees a consistent result across the entire software while at the same time it gives flexibility to build an infinite number of buttons (C).
Expansion My goal as a designer is to provide, as much as possible, one solution that fits all cases and a growing number of variations. For example one vehicle might have a number of variations which need to be represented in the HUD. Additionally each variation might have a number of un-locks and different seat rotations. The end result, as with all UI, has to be intuitive for the user.
Battlefield 1: They Shall Not Passs
As 2D Artist I was heavily focused on UI design and implementation which allowed me to work in many areas related to UI and UX. Working closely with the team I had the chance to create art for the front end, design icons, work with cameras and implement UI elements.
Battlefield 1: They Shall Not Pass (2017) One of my tasks was to capture in-game screenshots for the Front End. The images had to be post-processed and layered in order to achieve a parallax effect.
Battlefield 1: They Shall Not Pass (2017) I was responsible for implementing several UI elements and part of that job involved working with cameras. Using technology developed for the retail game I had the opportunity to frame all deployment cameras for all levels on all game modes..
Need for Speed
My work in Need for Speed Rivals involved creating visual targets for the UI Art Direction, wireframes, navigation mocks and final art for the game. Working on a new studio, GHOST EA, gave me the opportunity to be part of a growing team and contribute to the studio's identity.
Need for Speed Rivals (2013) As UI Artist I was responsible for prototyping and implementing Front End and HUD elements in the game.
Need for Speed Rivals (2013) One of my responsibilities was to shape the mood and look of the Cop's UI identity.
Need for Speed Rivals (2013) We were developing new technology in Frostbite while building the game. I created animated mocks for complex systems in order to communicate our vision to the tech team.
As Video Producer I was responsible for the Video Team. I was responsible for all video material in the game and for developing solutions for real time cut scene events which often featured a combination of UI and video.
Syndicate (2012) I was responsible for creating the DartScan in game solution which allowed us to display videos rigged to a 3D character in a UI framework.
Syndicate (2012) In order to align coders with the designer's vision I created fully animated mocks which later were developed as functional UI interfaces in-game.
For the remake of GoldenEye 007 I was responsible for delivering all pre-rendered cut scenes and managing collaborating artists. My work involved creating the visual style for the animations and designing a render workflow to generate the material.
Goldeneye 007 (2009) One of me tasks was to conceive and create the into titles for the game.
In-game pre-rendered video
In-game pre-rendered video
GoldenEye 007 (2009) Each chapter in the game featured a briefing video which was intended to mimic the interface of a James Bond style smart phone.
Andean Sky is a Sci-Fi interactive web-comic about Ecuador in the future. I had full control and ownership for this project and I had the pleasure to direct a collaborating sound designer who composed all the soundtracks. The story follows an immigrant who returns home to reconnect with his family and his culture. The comic is designed to be displayed on web-browsers and smart phones / tablets.
Andean Sky (2016) Religious identity continues to be an important aspect of the futuristic Ecuadorian culture. Religion, like all aspects of culture, evolves and changes through the years.
Smart Phone & Tablet
Andean Sky (2016) The comic is a multimedia experience which features animation and sound. I designed it to be a simple and emerging User Experience. The user controls the speed of the animation by scrolling up and down while listening to an ambient score.