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It's now 2021 and I have been a lead surfacing artist for the past 2 years (3 seasons, 24 eps ea.). I've lead my team through what is probably the toughest hurdle Paw has ever faced: transitioning a long-running show from one pipeline to another.

​Season 7 to 8 has been challenge on all fronts, as we switched from 8 years of working in Vray 2.6 (spec-gloss) to our very first season in Redshift (modernPBR), which I hope is evident in some renders I have posted. My work has become more technical in nature, as I find myself using Substance Designer to make new materials, work with Xgen grass and animated shaders such as water/various FX far more often than before. Redshift doesn't take the same maps as Vray and being a fairly immature renderer, lacks many of the features that ship with established renders such as Vray and Arnold.

As always, these are only a small fraction of the work I have done as I have not posted anything that
I cannot take sole credit for; 90% of my work is development these days and most of it I have not shared.

Fun animated stream shader I made for Marshall's water cannon for S8.
​It was previously handled by FX in Houdini; having it as a shader obviously makes it much lighter on render times and show budgets.
Some shader/Substance Designer studies using Blender Cycles
Due to the nature of a dynamic production, most assets are worked on by many artists. While I have worked on every character, vehicle, and location on the show at one point, many times I can only claim partial credit; thus, I have selected shots where I can primarily take credit for unless otherwise noted.

As of Season 5 and with Season 4's finale, Pups Save Puplantis, I have been performing as a look developer on top of my regular duties as a
senior surfacing artist. On a show that has been running for 7 years and counting, raising the visual bar while maintaining the show's art direction is a common task. You may notice when comparing some of the older images shown below how much we have improved the look in just one season!
Some things I worked on in season 4 of Paw Patrol (2017). For the most part, season 4 is ocean-themed, hence why the season finale takes place underwater. I was in charge of look-devving Puplantis, seen in my reel, as well as Harold's giant robot for the first 45min Paw Patrol special DVD release. I have not included any renders of development vehicles or characters I have worked on, which are very many, as I cannot take sole credit for them.
Inspired by Hugo Beyer's work in The Order 1886, my primary focus was baking tiling trim textures. 
Stylized modular rocks. Terrain made with WorldMachine, rendered in UE4. All landscapes are from the same heightmap.
Assignment requirement was to make a treehouse out of maximum seven assets excluding foliage.
Facial rig by Aleksandar Andonovski. I practiced portraiture prior to learning 3D; this 3-day introductory project to zBrush helped solidify many concepts I learned in traditional fine art. SSS effect is faked by painting in warm tones in an emissive map.

​Creature anatomy study. Concepted from skeleton and built musclature on top. Based on horse skeleton and wolf skull. 

​MoCap rig and animations by Evgenii Zlochevskii coming soon.

I spent three years practicing Kendo and Iaido, from which I drew my inspiration for this character. I invested some time into making heightmaps for the stitching on her clothing and the metal plating around the waist. I wanted good diversity in her armor's materials that ranged from silk, cotton, leather, steel and some kind of synthetic material.