Borderlands: The PreSequel

Borderlands: The PreSequel

Verizon

Verizon

Freebirds

Freebirds

Borderlands 2

Borderlands 2

Aliens: Colonial Marines

Aliens: Colonial Marines

Claptrap, Borderlands

Claptrap, Borderlands

Borderlands 2

Borderlands 2

Borderlands 2

Borderlands 2

Freebirds

Freebirds

Borderlands 2

Borderlands 2

Nuthin' But Mech

Nuthin' But Mech

Borderlands 2

Borderlands 2

A Scanner Darkly

A Scanner Darkly

Borderlands 2

Borderlands 2

Toyota Tacoma

Toyota Tacoma

Woosh

Woosh

Borderlands: The PreSequel

Borderlands: The PreSequel

Borderlands: The PreSequel

Borderlands: The PreSequel

Helios Revision

Helios Revision

Since the moon station was going to play a pivotal role in the game, there had to be some reworking of my original design (which was initially just going to be a satellite that would be seen in the skies and nothing more). 2K Australia began the process of reworking my superficial designs into more playable spaces, which mean the scale of the station increased.

Here I removed the laser eye-dome and opened it up to space and adding a centralized hub that the player would run around in.

Helios Revision (detail)

Helios Revision (detail)

A closer shot of the central station complex. Still working out the scale in this sketch.

Helios Detail Study

Helios Detail Study

Developing the design language of the random tech pieces that ring the circumference of the central station complex and Moonshot canon (looking inward).

Helios Detail Study

Helios Detail Study

Looking out from the central station at more detail on the rim of the dome.

Moonshot Ideation

Moonshot Ideation

A major set piece is around the Moonshot canon that fires massive rounds at Pandora's moon below. Here I was quickly exploring what the canon itself would look like.

Moonshot Concept Revision

Moonshot Concept Revision

Narrowing in on the final design and working out some basic functionality that would dictate looping animation that would take place during the gameplay.

Moonshot Final

Moonshot Final

Skybox Detail

Skybox Detail

This was meant to serve as an element that would be part of the environment that the player would not interact with, but serve as an ominous backdrop to the real intentions of Jack and the nefarious Hyperion corporation.

Jack's Chamber Ideation

Jack's Chamber Ideation

Some quick studies of how Jack's personal, armored chamber would appear to the player. 

Jack's Chamber

Jack's Chamber

Straightforward. Jack has his office in an armored chamber that unfolds around his desk.

Primary reference: the Emperor's throne from Return of the Jedi.

Jacks' Desk Ideation

Jacks' Desk Ideation

Central Hub Architecture Vignette

Central Hub Architecture Vignette

I created a series of vignettes that would have distinctly "Hyperion-styled" form language pieces that would be built as modular assets. The modelers could then pick and choose what they liked and go from there. 

Borderlands IKEA....

Central Hub Architecture Vignette 2

Central Hub Architecture Vignette 2

I created a series of vignettes that would have distinctly "Hyperion-styled" form language pieces that would be built as modular assets. The modelers could then pick and choose what they liked and go from there. 

Borderlands IKEA....

Central Hub Architecture Vignette 3

Central Hub Architecture Vignette 3

I created a series of vignettes that would have distinctly "Hyperion-styled" form language pieces that would be built as modular assets. The modelers could then pick and choose what they liked and go from there. 

Borderlands IKEA....

Central Terminal

Central Terminal

More or less a final paint-over of the terminal utilizing many different modular pieces; "kitbashing" levels together with pieces from various parts of the game. A process we've put to good use since the first Borderlands.

Transit Signs

Transit Signs

Some quick ideation for transit signs found in the Central Terminal. Holograms were key here.

Transit Sign Final

Transit Sign Final

Ideation Group 1

Ideation Group 1

Initial exploration of the what would become the latest version of the Droid Eye home screen.

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Ideation Group 2

Ideation Group 2

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Ideation Group 3

Ideation Group 3

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Ideation Group 4

Ideation Group 4

Sketch "D" would end up as the selected direction the final design would follow.

Final Design

Final Design

This was the final delivery for the Droid Eye home screen. The fully functional executed animation in the product is relatively close to this design. 

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“Abstractitron”

“Abstractitron”

I wanted to challenge myself to create a piece that was both reminiscent of early 1980’s science fiction magazine art, typically found on Popular Mechanics covers, and the early commercial and industrial work of Syd Mead. Rather than stick to a structured and logical composition, I opted to pull a macro shot of something mechanical that really does not warrant any explanation. I also executed this illustration primarily freehand with four different digital gouache brushes on a single layer in Photoshop; attempting to capture that imperfection and spontaneity of living with your mistakes, like an actual painting. It was a liberating exercise.

“Watcher”

“Watcher”

The environment is based on a reoccurring dream I have. In the dream I’m always at the far end of a long, concrete yard ending with a barren wasteland (as in dreams, you’re intuitively aware of time, space and location as your mind creates the world of the dream; my brain kept telling me “Australian outback” for some reason). Flanking either side of my periphery are large, bland warehouses. 

I figured that this would be an interesting setting for my little roach-bot, whatever it is and whatever its purpose. 

“Oblivious”

“Oblivious”

My goal here was an attempt at mimicking the look of a “dry-for-wet” visual effect shot: shooting an underwater scene on a smoke-filled stage, and compositing in miniature and CG elements. I did not want this to be completely photo-realistic nor too painterly in its aesthetic, but find a middle ground.

I think of this as the “worst case scenario.”

“Motel”

“Motel”

I based this one off of a sketchy looking (no pun intended) B&B I saw in Ojai, CA some years ago. It was interesting enough as it was, but I thought it would be cool to add some “future history.” A quaint place in a little valley off the beaten path. 

I wanted my marker and line art to show through on this one. I enjoy seeing the layers of an artist’s work; it adds an energy and a tangible craftsmanship that an overly painted illustration is normally lacking. It’s fun to see the designer’s mind at work.

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Rotomation, Step 1

Rotomation, Step 1

This was the raw footage we received from the production in the proprietary software, ColorEngine (or RotoShop). Note: the film was going to be completely painted over so there was little to no need for set decoration, costumes or makeup for the actors as we would take care of all of that in post.

Rotomation, Step 2

Rotomation, Step 2

ColorEngine/Rotoshop is an interpolated animation system that allowed us to create a keyframe (with lines, colors, etc) and the algorithm would guess the frame in between to match up the keyframes, creating a semi-fluid, nausea-inducing sensation adding to the surreal nature of the story.

Rotomation, Step 3

Rotomation, Step 3

I worked on the "scramble suit" scene for most of the film, which was a technology (from the book) that deep cover narcs wore and it altered their image by cycling randomly through millions of faces and body types to conceal the officer within (metaphorically making them the "everyman"). 

The first step was to divide the actor into quarters, then animate four different people onto that same body. The compositor would then layer many of these animations on top of one another, masking parts of the sequences, and ran that through another algorithm that would randomly reveal various layers. Much like the narrative tool the suit played in the story.

Rotomation, Sequence

Rotomation, Sequence

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