The Slalom 848 is a bodykit for the Ducati 848 motorcycle. Replacing bodywork, electronics, sub-frame, and rear-sets, it's a style modification of the superbike that you're familiar with seeing at the race track. This futuristic take on the Italian-built machinery is fitting to the "Super-Cafe" motif a designer might have sketched in a notebook.
Stay tuned for a behind-the-scenes article on my blog which will breakdown the process on creating this concept motorcycle.
An investigator has setup a makeshift nest for staking out his suspect. He's got everything he needs; his instant coffee, food, a good optic and a sight-line on the possible position of the suspect. Now all that's left is to wait.
After completing my last project in Unreal, and doing it under a very short time constraint, I decided I wanted to tackle more of a full environment, but this time in Unity.
I also wrote a brief article where I outline my techniques in building the texture blending shaders for the walls and floors.
There's more media to come on this environment, so stay tuned.
I was given the opportunity to work on an art test for a game development company in Seattle. Unfortunately, the company decided not to hire me, but I'm still quite proud of the environment that I created for them and I had a lot of fun making it.
I had only 3 days to create the environment from complete scratch and I was required to use the Unreal Engine. I did all my modeling in Modo, material/texture work in Substance Designer and Substance Painter
Most of the environment is covered with tiling textures, with texture blended stain, smear, and dirt layers to add variation to the material so it wouldn't look so tiled and to add an age to the environment.
The AV-1 Pro FLIGHT-STICK was designed to eliminate an all-too-common ergonomic problem in the flight-stick peripheral industry. It's the most obvious design element to the flight-stick, it creates the silhouette: the obtuse base of the handle.
This shape is designed to form to what your hand naturally does when you relax it, while not keeping you from being able to add quick and precise inputs to the flight-stick when you're in combat or engaging in a sensitive maneuver.
Other elements of the flight-stick are just as innovative. With Forged Composite Carbon Fiber material being used in the construction of the handle, you know the AV-1 is built with the utmost quality and durability.
With a total of 10 configurable buttons and a changeable tension spring, the AV-1 can be setup for virtually any mission.
Check for availability for the AV-1 in your local electronics shop.
All 3 models seen here have materials created from one base multi-material. I created a multi-material that, when the base baked textures and the geometry is changed, the rendered textures procedurally adapt to the new information; correctly placing wear & tear, material assignments based on IDs, dirt, dust, stickers, etc.
There are also parameters exposed to the end-user so that they may further tweak the materials, such as: scratch amount and scratch height, dirt amount, dirt thickness, and dirt height, sticker switch with amount, random placement, and wear/tear, and many other customizing options such as base material color, glossiness, etc.
Please see the YouTube video for a time-lapse demonstration of how the material looks and works for the end-user.
A friend of mine who is also a motorcycle mechanic, has a customer with an extra 675 that they are interested in turning into a sort of dirt tracker. This design is meant to take a stock 675 Daytona and change it into a more off-road capable sport bike.
A large seat for the rider to move around on, a gas tank with ergonomic room for the rider to grip with their legs, clip-ons changed to dirt bike handlebars, longer front suspension, rock-guard below the engine. New sub-frame with integrated taillight for styling.
More design variations for this project are forthcoming.
This project was done so that I could learn methods of procedural material and texture generation using Substance Designer. This trailer was completely textured using Substance Designer, other than the graphics and logos which were created in Photoshop.
CGSociety hosted a challenge entitled Thrust with a set of specifications for a fighter spaceship. This was my entry, entitled Ceres.
This ship, in my fiction, is mainly an atmospheric fighter with inter-planetary travel capabilities. It can travel to the opposite side of planet Earth in about 45 minutes, so its primary role is rapid deployment to assist risky AO’s for special operations units. It’s able to achieve these speeds by exiting the planet’s atmosphere and making use of a separate engine.
Without ailerons, the craft maneuvers in-atmosphere via 3D thrust vectoring with the main rear thruster, supplemented with maneuvering thrusters placed strategically around the hull of the ship (these work both in-atmosphere and in space with two different outputs). This thrust vectoring also compensates for the lack of large vertical stabilizers usually seen on aircraft, also supplemented by small vertical stabilizers on the tips of the wings. But once in space, the engine nacelle will rotate to facilitate a change in center of mass for the propulsion switch, since the jet engine cannot be used in the vacuum of space.
I worked at Turn 10 Studios (Microsoft) for over 5 years. I've been a Car Artist on Forza Motorsport 7 and Forza Motorsport 6 for Xbox One and PC, Forza Motorsport 5 + DLC for Xbox One, Forza Horizon 1 & 2 & 3 + DLC for Xbox One & Xbox 360, as well as Forza Motorsport 4 DLC and for the Xbox 360.
My accomplishments range from having modeled entire body, race, and rally kits for cars, animating drivers, setting up lighting on the cars (gauges, headlights/taillights), to working on the R&D team for new tech such as procedurally adding dirt, mud, and rain to the cars while the players race. Some of my favorite responsibilities included helping develop new tools to assist the car art pipeline in creating efficiency, developing new shaders to create realistic looking solutions with materials, and leading and teaching junior artists on various car setup and polish.
Not only did I enjoy working with a team of great people, but I love Forza. It's a great racing game, and it didn't hurt that I was already a fan of racing before I joined up with the team.
During my time at Vancouver Film School, this character was one of my final projects. She's a runner. Delivering hard copies of messages from one place to the other. Trained to be highly skilled in escape; urban obstacle maneuvering, operates just about any type of vehicle from 2 to 16 wheels, to helicopters and airplanes, and an expert marksman.
One of my favorite cars, the Shelby Daytona in a paddock environment. All work created by Alex Jamerson.
The Shelby Daytona GT class sports car was developed by Ford during a heated rivalry between Ford and Ferrari. Ford wanted to beat Ferrari at their own game – sports car racing.
The Shelby Daytona was developed based off of the Shelby Cobra. One of the obvious changes to the car is the body, being one of the first cars to forgo the tear drop design in favor of a Kamm tail, which increased its top speed compared to its sister car the Shelby Cobra. And an added spoiler created down-force to increase stability at high speeds.
The Shelby Daytona subsequently won the FIA World Sports Car Championship over Ferrari. Immediately following its debut win, Ford reassigned personnel from the Shelby Daytona project over to the GT40 project to compete against Ferrari in the Sports Car Prototype championship in Le Mans. With the lessons learned from the successful Shelby Daytona project, Ford went on to win the 24 Hours of Le Mans 4 times in a row with the Ford GT40, proving to Ferrari that they could compete in their arena.