Josiah C. Email & Phone Number

After slowly building up Barony over the years, we finally had a strong enough foundation to take the operation full-time. I continue to provide critical creative leadership, design and art content for Barony updates, as well as marketing and business development.I also spend some time in creative pre-production for our next project.

Washington, United States

I created all the art for Barony: Cursed Edition and Blessed Addition. Design and art for monster-race and class DLC. Additional duties include level design, game design, marketing, business development and community support. I work with Turning Wheel during my non-working hours.

Kirkland, Washington, United States

As a member of HBSs game design team, I participate in the design process broadly for our game project. I am engaged in most aspects of game design which overlap with the experience of playing a level.My primary responsibility is level design, including experimentation and prototyping, planning, layout, encounter design, dynamic content creation, objectives, light scripting and broad-strokes level aesthetics. Ultimately I make a lot of levels and I make them as fun as possible!As the scrum lead for level design, I organize with production for scheduling, I track level assets, help establish and standardize level content creation processes, am a cross-departmental liaison representing level design, and I provide quality control in regards to the standards and level experience created by the project's other level designers.I also enjoy leveraging some of my video editing skills to showcase levels to both internal and external audiences.

Greater Nashville Area, Tn

At Traega Entertainment I was responsible for the creation and documentation of a cohesive gameplay vision for the project, including systems, content, narrative and balance. I began work in the earliest phases of prototyping for multiple projects.As part of the leadership team I collaborated with the other leads and directors to identify and set game requirements, and participated in interviewing and hiring decisions. I collaborated regularly with engineers to plan core systems and tools that depend on technology. Frequently worked with members of the art team to help establish creative direction that matches gameplay intent in the game's aesthetic, and help guide UX especially as it concerns clarity in gameplay intent and user accessibility.I enjoyed contributions to game content directly and this is part of to my day-to-day. I created maps, puzzles and other level-design content. I also tested and tuned mechanics such as player movement behavior and other economic game values.I contributed all kinds of writing for narrative and game progression, including dialog scripts for audio recording. I wrote and scripted game objectives and hints.I mentored, collaborated with and delegated to one other game designer directly.

Greater Seattle Area

Primary world art and level designer for the Drucker and Daybreak maps in State of Decay 2.Wrote game design pitches. High-fived or hugged coworkers.

Seattle, Wa

As part of a small, experienced team at this startup VR company, I wore a lot of hats as a 3D art generalist.Performing general content creation, I placed environmental art, created and set up LODs for props and characters, made simple shaders, and created characters including photo-real human likenesses for athletes and spectators. UE4 project.Contributor to hiring, including job description authoring, portfolio evaluation, phone and in-person interviewing.I also collaborated on occasion with the studio's principle designer on social oriented product design.

Game concept and art asset development for Elo Hell, particularly the Echo Star minigame.I created 2D art, 3D modeling, unwraps, rigs, skins, textures, animations and content hookup. I helped establish the Lansorian art direction via concept art. Elo Hell was my first UE4 experience.My work remains in the final product, including Echo Star structures and Human characters / robots, and I also coined the name "Echo Star."

Seattle, Wa

High level social and game progression systems design for Greg Hastings' Paintball 3 and Greg Hastings' Fields of Battle 2. Work includes design for micro-transactions, player appointment setting and new player UX.Freelance work.

Redmond, Wa

As the studio's Art Manager, my primary role is to make sure the art gets done, done well, and according to project needs. It is also my pleasure to maintain a happy art team that communicates and works collaboratively with one another and other departments. I manage art resources as the primary art hiring manager, and I coordinate with offsite artists and agencies. I am also highly invested in the creative quality of our product, always keeping a high level view of the thematic and aesthetic appeal, and providing sketches or written ideas / feedback.*Work very closely with our Art Director to make sure the team is tasked properly to fulfill his vision*Write job descriptions, review candidates, interview and hire artists / animators, as well as interviewing cross-departmentally*Work very closely with Development Director and Senior Producer to ensure staffing needs and cross-departmental goals are met by the Art Department*Work very closely with Lead Game Design and Design Manager to clearly help establish appropriate technical and aesthetic execution techniques with the Art Team*Create offsite art asset requests and write technical art requirements*Provide feedback and direction for offsite artists*Coordinate meetings with the art team and cross-departmentally*Provide critique and suggestions to onsite artists and animators*Schedule and plan art resources to meet project deadlines and interdepartmental goals

Redmond, Wa

As an Art Lead at Gas Powered Games, I worked on Age of Empires Online and HEX: Shards of Fate. My efforts as an Art Lead at GPG:1) Consistently empowered leaders with reliable art department status and projection2) Consistently benefited projects with rapid content creation and iteration, due in part to personal work speed, ethic and smooth pipelines, and tech-savvy understanding3) Consistently kept morale high on teams, with clear vision and direction, as well as invaluable rapport with team members and departments, including working closely with engineersI took on a variety of production and management tasks including:* Establish and document 3D modeling and UI art pipelines* Milestone planning and art resource allocation* Provide outsourced art direction and integrate outsourced assets.* Create robust asset / pipeline tracking for all project art* UI art direction, concept art and layout building* 2D concept art, 3D models and textures for outdoor game environments and character props* Basic content engineering for hooking up the game content to art assets* Manage and teach artists; Provide accountability, technical and stylistic leadership

Driving publisher side testing for independent studios publishing through Microsoft for the Windows Phone platform.Liaison to developers and manager of offsite testing resources.

This position provided many opportunities for me to cut my teeth on general creative game leadership, from content control, to art pipelines, hiring talented staff, to project planning and projection. The tight-knit team at Super X also allowed my vocabulary to grow into a natural and well-rounded dialog with all disciplines of game development, especially as they are related to game art, animation and game design intersecting with engineers.I am more self-sufficient, a better communicator, and a better leader as a result of my time at Super X Studios.Production tasks included an enormous variety of tasks, but to name a few:Game Art: Concept, 2D, 3D, GUI, Rigging and AnimationGame Design: High Concept (Pitches) and Applied (Spreadsheets loaded with stats, level designs, and game progression)

Management and production of all game art and artistsDeep involvement in game designCompany managementIn addition to myself, Novo Interactive is a small team. Our primary goal is making the kinds of games we'd want to play, to our own standards, with (at this point) little outside accountability. This allows us to have a "pure" game development experience that we can enjoy at the leisurely pace of our off-hours, without being terribly distracted by matters of funding, layoffs, etc.

Training and management of test associates.Completion of various Xbox 360 and PC test tasks.While I prefer more creative roles, the social and organizational dynamic in this job catered very nicely to my strengths. I love working on video games, and working with passionate teams. I found that here, and enjoyed my work, even if I was left wanting for something more creative.I value all my QA experience for the perspective it has given me, both on a technical / problem solving level, but also as an end-user, keeping in mind that the products we make are always for a consumer that deserves a polished product. These are values I carry into all my game industry work.

Modeled event venues based on architectural drawings and photographic imagery. Followed strict guidelines and used proprietary scripts to recreate a realistic world environment in painstaking detail.Personal Note: I ultimately left this job because I found it clashed with my personal needs for a long-term career, hence the short time spent there. I do, however, value the experience, connections and knowledge I gained while there.

Design And Applied Arts

Art, Animation, Visual Design

High School Diploma, Arts, Humanities And Communication

Activities and Societies: Drama Club, Guerrilla Art Club