Vis-Dev work I did for the new League of Legends Worlds 2017 trailer - Legends Never Die (ft. Against The Current) It was an amazing experience working Evan Viera and the team over at passion pictures. Also I'm super proud to have worked ith such an amazing team of artist like Thomas Scholes, James Zapata, Paul Kim and Leeroy Vanilla!

At Valve I was the Map Architect on the pre-production phase for the revamp of CS:GO's Dust 2 (de_dust2). Team goals were the following: 1) Upping the realism and moving the iconic map out its current Iraq-istan setting, look and feel. 2) A ground up rebuild. Looking at every aspect and asset (outside of the gameplay space) as beginning from scratch. 3) No restrictions on what was once indoor/outdoor space (allowing the freedom to propose opening once enclosed areas or making a interior space now a exterior one). 4) Re-theming of bombsites A and B with new narratives and supporting it through set dressing that is integral with the architecture. 5) Maintain the map layout, the gameplay ground, with its critical corners and sniper line of sights. This is a good example of how I, and another architect, used SketchUp during the look-dev process to quickly understand multiplayer map problems and quickly test ideas, pursuing an Alternate Ground.

Card illustrations for Gwent.

I had the task of creating a significant portion of the Red Hive architecture used on the moon destination for Destiny 2: Shadowkeep. I worked closely with Jeff Horal to design and build architecture based on gameplay massout for the Scarlet Keep strike. I also created a series of standard modular palette assets to help flesh out the Red Hive architecture throughout the destination. Most of the materials for these assets were built by Andrew Kreutzer, with some additional textures by myself. The shots featured here were part of a huge collaborative effort by a bunch of talented artists and designers listed here: Gameplay designer: Daniel Grafstrom Palette artists: Andrew Kreutzer, Aaron Cruz, Steve Klipowicz World artists: Jeff Horal, Kyoungche Kim Lighting: Madison Parker Skies: Mark Goldsworthy

Firebrew Distillery We are incredibly proud to have the opportunity to share some of the 3D environment art that our studio has created together with Blizzard Art team for the World of Warcraft: The War Within. Of course this would not have been possible without the amazing support from Blizzard's art leads. We are truly grateful to be a part of this journey. https://www.artstation.com/waitecreations https://www.artstation.com/phrisk https://www.artstation.com/artofjeffp

I was fortunate enough to work on the new God of War early on in development. This was bluesky phase of figuring out Jotunheim level. My Instagram https://www.instagram.com/jungpark_art/?hl=en

This is a collection of some of the environment concepts I have done for Borderlands 2: Commander Lilith & the fight for Sanctuary, in 2018. These are mostly paintovers and quick moodshots to give ideas to the amazingly talented Environment Team at Gearbox Studio Quebec. Often times I get a blocked-in shot (or sometimes more detailed) and my role is to jump-in and give some personality to the scene by providing lighting and color suggestions, as well as new elements that could enhance the gameplay.

This fall I had the chance to revisit Summoner's Rift and add some big changes and additions to the existing map with the release of Rise of the Elements. Working with a small and talented team, we jumped into the challenging and intimidating task of altering a beloved piece of art. Aleks Nikonov dd the initial concepts for Rise of the Elements. Rise of the Elements brings SR to life as the primal magic of the Elemental Drakes changes the landscape each game. I was responsible for re configuring the islands and blocking in the mountain changes. Once placed and matched to the new nav grid, I was then able to texture the ground, rock pieces, and paint over any holes caused by the changes. We also created identical alcoves in top and bottom lane. Both alcoves feature three patches of brush on their outer edges and a small space in their center for champions to juke around or hide in. For the alcoves, I was responsible for blocking in the new geometry and texturing.

I was one of the main World Artists responsible for creating the Black Garden. As always with everything at Bungie, this was a huge collaborative effort by many talented artists and designers across the studio. I was responsible for all natural palette development (modeling+shaders), building several spaces, some mass-out, architecting, finishing and polish. Leads: Brian Frank, Andrew Hopps Mass-out: Ray Broscovak, Andrew Hopps, Aaron Canaday Palette Artists: Myself, Ethan Scheu Lighting: Thad Steffen Skies: Eric Cassels Design: Chris Manprin, Darin Lantzy, Jake Meyer, Brian Frank

© 2018 CD PROJEKT S.A.

Part 1: https://www.artstation.com/artwork/6kL5V Part 2: https://www.artstation.com/artwork/AyZKV Brooklyn: https://www.artstation.com/artwork/ZRlBZ Together with the other environment artists at Massive, I worked mainly on open world propping and set dressing. The majority of my work was focused in Brooklyn, The Hub, Chelsea, Hudson Yards and Hell's Kitchen areas, however I was also involved in many other areas. My duties were working closely together with level design to create interesting play spaces and missions; Managing the various teams involved in an area to ensure everything comes together correctly; And supporting the prop team in creating specific environmental assets. At massive, many artists work together on the same area, so these images represent a team effort across many disciplines. To avoid a huge list of images, I have split up my work into various sections. So be sure to check them out on my profile page if your interested in seeing more!

I had the opportunity to develop the look of the weapon attacks in Ori and the Will of the Wisps. Hope you guys enjoy!! Thanks to everyone in the art team at Moon!!

Card game for Legends of Runeterra AD: Andrew Silver Concept: Chris Campbell Check out the game here: https://playruneterra.com Thank Chris for pushing me to create beautiful pieces through your wonderful work. Because you drew the concept too detailed and beautiful. So I just do my best and now this is one of my favorite cards.

These images show the various moments moving toward the back of the Refinery level. In these images I tried to depict the way the structure was embedded in the rooted underbelly of Kashyyyk, while continuously adjusting the vision to suit the evolving level design.

Some shots of the organic environments I worked on for Avatar : frontiers of Pandora. I had full ownership of the art for the Take flight (Ikran) mission where you ascend the floating mountains as well as a variety of other Navi locations and supported on the creation and polish of the large organic landmarks in the game. Thanks to the Amazing UK Art team and the team at Massive. Huge thanks to Sander Agelink who was the mastermind behind the creation process for the large rock assets required to build some of the large landmarks in the game.

Last year I had great opportunity to work with Riot Games on their series of short movies "Tales Of Runeterra". Finally I can share my input to this awesome project. I would like to give thanks especially to Kimberly Xiong, Jessica Liou, Lilit Hayrapetyan, Dustin Wicke, Jeremy Thompson, Arnaud-Loris Baudry for giving me this chance.

These were the initial concepts showing the landing sequence on the Kashyyyk level. In these painting I tried to show the constant struggle of nature and machine as the Imperial ATAT struggles to move through the rainforest. The entangled vines and deep rooted terrain helped inspire the concepts further inland.

One of my favorite location to work on in Iki Island, I wish I had more time to explore it more!

A couple concepts I did for Yarikawa, a Japanese village under siege. Enlarge to see the 4K resolution.

Some of the very last concepts I did for Ghost, here showing the final duel with the Khan, toward the end of the game. These are also some of the first ones I did while implementing Blender in my process. Enlarge to see the 4K resolution