I designed and developed 2D concept art for main characters and alien enemies using Adobe Photoshop, and transformed these concepts into optimized 3D models with ZBrush and Maya. I unwrapped UVs and textured the models using Adobe Substance Painter, ensuring they match the art style and fit into our game world.I rigged and skinned each character in 3DS Max, collaborating closely with the animator to ensure the characters performed as intended. I also prepared enemy meshes for dismemberment by separating limbs, rigging, and skinning in Maya, then imported these into Unity to set up the ragdoll system. Additionally, I posed the characters for presentation and marketing purposes, contributing to the project's visual appeal.Key Achievements- I took on a producer role for the team on top of being lead character artist. We kept on top of our milestones, iterated and created manageable solutions to problems and submitted our game with minimal bugs left on our list.- The characters were well received by players for their design.- Productive and valuable play-test sessions.

I designed and painted the main character in Adobe Photoshop, inspired by the artwork prompt 'Catnip High' by Boris Groh. After deciding to hybridize 'Soul Trader' from a 2D prototype to using 2D characters in a 3D environment, I modeled all the environment assets and set them up in our levels. To address technical challenges, I curated a moving environment around the play space, rather than coding gameplay onto a moving platform, which was more efficient for a side-scroller. I strategically offset the environment assets to keep the background fresh and minimize repetition.Key Achievements:- Despite what was considered our worst prototype, we saw saw its potential and challenged ourselves with risky iterations that paid off.- Ensured cohesive art style with the other two artists.

I created 3D environment assets for the first and second levels using Maya and took the lead in designing the second level, 'Ice.' I developed the level design by sketching concepts in Photoshop, ensuring a seamless transition from the first level while incorporating core gameplay mechanics. After collaborating with the team and finalizing the concept, I blocked out the level in Maya and imported it into a new scene in Unity.As the programmers set up the level's features, I added detail and textures to the assets, replacing the blockout. After playtesting, it became clear that the level's design did not fully support player movement. Given the short time frame, I opted to redesign the level rather than add invisible walls, as I believed that maintaining immersion was crucial. This decision ultimately proved to be the right choice.Key Achievements- Taking ownership over of level two design and creation and making it something I'm proud of- Successfully iterating the design of level two to remove the need for “invisible walls”- Managing the team to ensure milestones are met

I demonstrated comprehensive planning and execution of government meetings and events, including Local Board meetings, Local Board Chairs meetings, and Local Board Induction days. I supported Local Board elections, inaugural ceremonies, and by-elections, ensuring smooth operations. I managed internal and external feedback surveys, carefully adhering to neutral language to avoid bias, and analyzed and presented the results to management. Additionally, I coordinated a monthly procedural change for all 21 local boards, resulting in an annual savings of over $10K for Auckland Council.Key Achievements:- Seamless monthly Local Board Chairs meetings- Building rapport with colleague and board members- Impactful development and coordination of monthly procedural change