This beginning beach area I was responsible for the composition/world build. Also Modeling texturing the foliage, and tree leaves. I worked with two other amazing Environment Artists to create the Alfheim level - Erik Jakobsen and Charleen Au.

I was level point on the opening Midgard Forest. I was responsible for grey box layout, world building, modeling, texturing, materials, and optimization to shipped product. Lighting by Nate Stephens. Images are chronological through the level.

I was responsible for creating all the base terrain Materials for the inside of the mountain. I mainly sculpted everything by hand, and ended up using a combination of substance designer and zbrush to get the results i wanted. In the end, these base materials were used to create a wide variety of layered paint materials. Once we started polishing i made vertex blend materials to create "skirts" to cover up seams. These materials relied heavily on the height information and the blending parameters to create a very seamless and natural look. From top to bottom, showing the level of detal complexity of each material.

On the God of War production, I held the role of Sr Staff Environment Artist. I was the point person for the environments of the Caldera Bridge level. This meant making sure the visual quality was sustained throughout the level, that the wads fit within technical budgets and that everything was completed within the expected deadlines. I was also responsible to coordinate with other departments, design, production, lighting and character art. I worked on the Caldera Bridge level from its early start as a grey model, iterating the environments as the project developed, until its final shipping stage. I created most of the architecture kit and the shaders for the level. My work on this level was the assembling, the composition and the dressing of the bridge, the towers and the exterior of the temple, while overseeing one other artist who joined me in the production stage.

This gallery presents some of the work the ssm team and I did on God of War. I had the unique chance to co-design and build a small play space connecting two larger rooms. While the larger surrounding rooms were being sorted out, I started to play with creating opportunities for exploration in this small space while making it feel like a much much larger space. Concept: Mark Castonon https://www.artstation.com/markcastanon Design: Chris O'Neil Light: Mario Wiechec https://www.artstation.com/mariuszw Rock Models: Raul Aparicio https://www.artstation.com/raul

I had the great pleasure of helping to create the new worlds for God of War along with the talented team at Santa Monica Studios! This was a big team effort with everybody putting in their best work to create the final product. I worked closely with Sukru Gilman—the two of us were responsible for the realm of Helheim, and additionally some of Jotunheim. It was an absolute blast to work alongside, learn from, and collaborate with Sukru throughout production. We were responsible for the entirety of environments for the realm (aside from Tyr's temple, statues, FX, water & lighting). We also had a helping hand from Timo Pihlajamaki and Nate Stephens, as well as all the other departments outside of environment art that we worked with. Environment Level Lead - Sukru Gilman Environment Artist - Philip Weisfeld Environment Lead - Nate Stephens Technical Environment Art - Timo Pihlajamaki Level Design - Jon Marcella

This is the majority of rock assets made for the inside of the mountain. The initial brainstorming and blockout models were made by Paul Coda. We played around in the viewport and tailored the rocks with specific shapes that suited the needs of what we were trying to convey. As opposed to just sculpting random cool shapes. Once we were happy with the shapes, i sculpted the details of the rocks by hand. No photogrametry. And was also in charged of creating the Low poly, materials, textures and LODs of the rocks. For the textures we used our layered material system heavily. Using a combination of different tilers and overlaying normal map baked traditionally. I sculpted all the details by hand, but i used substance designer to create macros to generate the diffuse, and curvature maps to use on our layered material editor.