Quality Assurance Design
Resume:
Kevin W Taylor
************@*******.**.**
www.kevinwtaylor.com
EDUCATION
MA by Research in Advanced 3D Animation with Narrative 2011 – 2012
University of Huddersfield
Results pending
BA (Hons) in Virtual Reality Design with Animation 2003 – 2006
University of Huddersfield
First-class Honours
PROFESSIONAL EXPERIENCE
Rebellion Feb 2008 – Dec 2010
3D Artist
Environmental modelling, character modelling, asset creation, outsource management, texture creation, optimisation, technical modelling, concept art, UI design, level design, game engine use.
Sony Computer Entertainment Europe Sep 2006 – Feb 2008
First Party Quality Assurance Tester
‘Bug’ finding, tracking and documentation, temporary staff management
St. Helens College Aug 2007 – Feb 2008
Lecturer in 3D Game Design
Technical/Creative workshops, lesson plans, tutorials and criteria marking.
PRIMARY SOFTWARE SKILLS
3D Studio Max
ZBrush
Adobe Photoshop
Adobe Illustrator
Game engines (Asura, UDK, Unity)
GAMES TITLE EXPERIENCE
Never Dead (PC/PS3/360)
Working as part of a two man team on the creation of level 6, I constructed all level whiteboxing to a playable level to allow for an additional design pass with geometry. With changes made as per design, I then constructed first and second pass geometry, incorporating first pass destructible objects that I constructed to maximise re-use throughout the level. Second pass geometry was changed numerous times in some areas as the levels aesthetic concept were re-envisioned as per Shinta Nojiris desire.
Sniper Elite 2 (PC/PS3/360)
For this title I worked on numerous areas, from environmental art to characters and assets. All artwork required lengthy researching to be period specific, with all aspects being produced to a realistic style. Work on a multiplayer DM level also progressed from whiteboxing through to second pass geometry and texturing.
Rogue Warrior (PC/PS3/360)
Acting as the sole level artist for level 4, I was provided with pre-produced whitebox geometry that was then brought into the correct engine scales before first and second pass geometry and textures were produced. This level required close contact with the design team, with the pre-established requirements for this levels reveal of the bridge offering numerous technical problems due to constraints of the Asura engine. This culminated in large amounts of technical tests and level amendments to ensure the minimum frame rate despite the existing restraints.
As lead on the level, I managed other artists charged with the construction of level assets, managing the various requirements of each asset. Level design was also a factor in which I remained heavily involved in from start to finish.
I also created the levels lighting and balancing dynamic lighting with standard lighting and effects combinations.
Aliens Versus Predator 3 (PC/PS3/360)
For this title I worked on asset geometry, texturing and the design and construction of a multiplayer levels art of a very large team of artists. Assets were tested within the engine to ensure that they conformed to the visual style of the title, as well as having the correct levels of specular and normal mapping to ensure visual uniformity.
Drive San Francisco (PC/PS3/360)
Working in the capacity of an outsource team, I produced areas of environment to a grid as part of a large scale level construction team. This task required continual communication between artists to ensure that the grids corresponded correctly to each other, both technically and artistically.
PDC Darts 2009 (Wii)
This title required the creation of my own environment as well as the darts specific set pieces that were required to conform to strict designs, with the inclusion of all sponsorship logos. The images for the set pieces were produced from provided imagery, while the environment was created from searches I conducted on the internet.
The constraints of the Wii required that only minimal lighting be utilised, so much of the environmental lighting is a trick of gridded wall and ceiling textures that give the illusion of dynamic lighting. The rest of the environment was produced as standard, with the creation of various assets, and the use of any relevant existing assets from a pre-made library.
Call of Duty: World at War: Final Fronts (PS2)
For this title I worked as the lead artist for level 8 (Bure). This required working closely with the design team in the creation of levels layout, ensuring a good flow of events and visual reveals. I created the large majority of level art, as well as the management and incorporation of geometry from other artists. General assets were incorporated from a pre-created library and, where required, I created new level specific assets. I remained heavily involved in the level design process for my level, with large contributions during the levels early stages.
The constraints of the PS2 required continual optimisation passes, as well a good knowledge of asset, texture and level optimisation from technical and playthrough standpoints.
Star Wars Battlefront 3 (Cancelled Title)
Working in the capacity of lead artist for the 'Hoth' environment, I managed a team of Chinese outsource artists through a detailed system of forms that provided instructions on all manner of level production. This required the detailed knowledge of technical level requirements, from which textures, polycounts and instances objects lists were created and assigned accordingly. With assets collected, I then constructed the level according to design.
Rift (Cancelled Title)
For Rift I worked as part of a team of artists creating large sections of the environment to be combined in the finished level. This required the creation of technical whitebox geometry, through to second pass geometry and texturing.
REFERENCES
Robert Karp -Producer Sony - ***********@****.***
Graham Foxall - QA Lead (Former) Rebellion - ******.******@*******.**.**
Rob Lycett – Senior Lecturer Huddersfield - *.*.******@***.**.**
Andrew McCann - Studio Lead Rebellion - ****.******@*********.**.**
Additional referee contact details available upon request
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