Mark Maxwell Email & Phone Number

Middleton, Wisconsin

I work as an Associate Lead environment artist for Raven Software, an Activision studio. As an environment artist, I gained experience creating the visual interest (details) and some minor design work in virtual environments which are published annually on a major video-game release. Our current projects are all in service of the Call of Duty franchise. Specifically, my primary job involves working in the game engine (Radiant in previous projects) for macro-mid level detail work, 3D Studio Max for modelling small pieces or large elements with heavy vertice-count, Z-Brush for organic 3Dmodels, and a combination of Substance Designer/Painter/Quixel Suite, and Photoshop for creating tileable textures or model textures. I occasionally am able to use traditional illustration methods as well (hand-drawing) for virtual signage and artwork within the game. In the last few years this work has expanded to focus heavily on procedural terrain and biome authoring in our Warzone Maps. As an Associate Lead, I manage development of our terrain biomes and author and communicate best practices to multiple artists and studios involved in the project. My work-to-date includes the following shipped titles:Call of Duty: Advanced Warfare (3 multiplayer maps) 2014Call of Duty: Black Ops 3 (conversion of current-gen graphics to last-gen for Xbox 360/PS3) 2015Call of Duty: Infinite Warfare (2 multiplayer maps) 2016Call of Duty: Modern Warfare Remastered (2 multiplayer maps) 2016Call of Duty: Online (web-based game partnering with Chinese publisher Tencent; I worked on 12 maps in-between the above listed projects and this is an ongoing effort) 2017Call of Duty: WW2 (2 multiplayer maps in War mode) 2017Call of Duty: Black Ops 4 (art in the Blackout "Battle Royale" mode) released 10/12/2018Call of Duty: Warzone, 2019 - ongoingFuture work in progress (TBA!)

Greater Grand Rapids, Michigan Area

I worked in the Army Reserve (activated twice for overseas combat deployments), mainly in Psychological Operations (PSYOP). My specialty was Multimedia Illustration (MOS 25M) and PSYOP Specialist (37F). I produced artwork for foreign and domestic audiences in various theaters of operation. While my personal specialty centered on visual art, I led a team that specialized in audio, video, and other means of messaging.I was deployed to Djibouti for most of 2013 and spent chunks of it, up to a month at a time, in Nairobi, Kenya. While in Kenya I worked as a liason between our forward base and the U.S. Embassy there, bridging the gap between our mission and Department of State needs. I also worked with government contractors to achieve our mission. In the service of these needs, I often drew upon my past MOS (and current civilian job) of Illustrator to design visual products which were used as strategic marketing in foreign nations to further our goals.I also served as the Public Affairs NCOIC in Kuwait during the 2003 build-up and start of Operation Iraqi Freedom. In between these assignments I mainly served in Psychological Operations (PSYOP) at various posts from A Co 17th Battalion in Joliet, IL to the 316th in Peru, Indiana and the 341rst in Grand Rapids, Michigan. I served in a lot of interesting PSYOP missions, some overseas in Korea and Guam, and some domestic in California and Hawaii.

Orland Park, Illinois, United States

I worked at American Technical Publishers (ATP) for 9-years, first as an associate technical artist, and finishing as the Art Manager for the art department there. My responsibilities as an artist included working with various authors and editors to design, illustrate, and layout educational and vocational publications. Work included covers, interiors, promotional materials, and occasionally support for attached CD-ROMS, etc. Towards the end of my experience there I began developing a 3D work methodology and training the department in using SketchUp as the technology became more accessible and in-demand. As Art Manager, I coordinated our team of artists as they worked in various projects. This was coordinated with production schedules and other editors to ensure that deadlines were met, technical aptitude was maintained, and quality standards were upheld.