Tuesday, July 22, 2014

Bingo 3D

This is another mobile title that was completed in record time.  5 unique environments were created to serve as the backdrop for a Bingo game with three dimensional mechanics.

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Sunday, July 20, 2014

Zombies!!!

 Along with character concepts I was asked to create a stylized look for each of the tiles of this board game brought to the digital realm.

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Rogue Racing Industrial

The mobile scene demands incredibly fast deadlines.  I am proud of the out come and reception of Rogue.  We were called to update this application and create engaging environments. 
I had the opportunity to oversee a team of great artists as well as contribute directly to this project.


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Lucky Lanes

Working on Lucky Lanes was a ton of fun. It gave me the opportunity to spread my cartooning wings.  Along with overseeing a team of great artists.  I was able to concept out the vision and flesh out some of the levels for this fun and wacky game.

 
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Rogue Racing Downtown

The mobile seen demands incredibly fast deadlines.  I am proud of the out come and reception of Rogue.  We were called to update this application and create engaging environments. 
I had the opportunity to oversee a team of great artists as well as contribute directly to this project.


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Monday, August 5, 2013

Online Resume

Frank Pusateri Art Director /Sr. Artist
Work Experience:

Babaroga LLC- Chicago, IL Feb. 2012 – Present Day

(IOS,Android, Window 8)
Art Director:
As art director, I am responsible for creating and implementing the visual design elements associated with, but not exclusive to 1.) Product aesthetic 2.) brand positioning 3.) public relations 4.)strategic marketing. In an effort to provide vision to Barbaroga's unique presence in the video game industry. 
As the chief liaison between the publisher and our in house design professionals, it is my job to be able to understand a client’s concerns and ensure its development by the art staff . As well as providing a cross synergistic approach ,to the art creation, with the other disciplines involved in making our video games. I provide this vision through clear communication by clarifying and honing abstract ideas visually and lyrically into a focused direction.
Other duties under my title also include the creation and administration of project schedules and budgets. It is my responsibility to maximize the financial resources of both the client and employer across any given project. As well, I strive to achieve the highest earnings through both educated and innovative direction.
On any given day, I may find myself designing promotional, advertising and public relations materials. Provide game proposal kits from a visual stand point. Create all encompassing art style guides complete with concepting efforts. As well as review the art team’s performance and production for several in tandem projects.
Additional endeavors include collaborating with other marketing and creative departments as outsourcing works made its way into our project goals. At that stage it became even more crucial that I oversaw developing and refining our project budgets.
In addition to these duties I also make it my responsibility to keep up the team morale. I do this by keeping a positive spin on every challenge and keep in keen touch with the levels of confidence, enthusiasm, and discipline coming from each one of the artists I am fortunate enough to lead.
It has been my desire and due diligence to make Babaroga a major name in the video gaming industry on a global scale. 
 
Production Artist:
As production artist at Babaroga my role includes, but is not limited to, modeling, texturing, and collaborating with designers and technical artists in the design and development of:
  1. Character creation
  2. Concept creation
  3. Game world environments
  4. World/Environment Lighting
  5. Set dress and prop creation
I am responsible for ensuring that the art I create is an accurate representation of any concept art provided. Weather my own concept or a concept provided by someone else. I also strive to ensure that my art is of a high level of visual quality and meets all technical requirements. I work in collaboration with the rest of the team to create the highest quality game art possible within the time constraints provided. 
From both the perspective of art director and production artist I consider myself to be a positive contributor to group discussions and team goals.

Day 1 Studios, LLC - Chicago, IL Mar. 2000- Dec. 2011

F.E.A.R 3 ( PS3, XBOX 360, PC)
  • Sr. Environment Artist / Level Lead (Art)
  • Designing, conceptualizing, and implementing environments and assets
  • Working directly with Level Lead (Designer) in creating full level experience
  • Lighting , aesthetics and mood implementation
  • Managing environment modelers for final asset creation and implementation
  • Collaborating with cinematic, scripting and sound teams for full level experience
  • Technical management for performance and memory
  • Final level set dress and polish
  • Over saw and scheduled tasks for the multiplayer effort from the art standpaint working directly with our client, WB interactive. As well as worked on the production of the multiplayer in addition to the singleplayer effort.

Fracture (PS3, XBOX 360)
  • Sr. Environment Artist / Level Lead (Art)
  • Designing, conceptualizing, and implementing environments and assets
  • Working directly with Level Lead (Designer) in creating full level experience
  • Lighting , aesthetics and mood implementation
  • Concept creation for game mechanics as well as prototype implementation to final implementation
  • Managing environment modelers for asset creation and implementation
  • Technical management for performance and memory
  • Final level set dress and polish
  • Sole artist on the entire multiplayer effort working with a modest sized design team in addition to the single player effort.

MechAssault 2 (XBOX)
  • Sr. Environment Artist / Level Lead (Art)
  • Designing, conceptualizing, and implementing environments and assets
  • Character creation from concept to final implementation
  • Working directly with Level Lead (Designer) in creating full level experience
  • Managing environment modelers for asset creation and implementation
  • Technical management for performance and memory
  • Final level set dress and polish
  • One of two artists to execute on the multiplayer effort in addition to the singleplayer effort.

MechAssault (XBOX)
  • Sr. Environment Artist / Level Lead (Art)
  • Designing, conceptualizing, and implementing environments and assets
  • Character creation from concept to final implementation
  • Prototype implementation of core game mechanics to final implementation
  • Working directly with Level Lead (Designer) in creating full level experience
  • Managing environment modelers for asset creation and implementation
  • Technical management for performance and memory
  • Final level set dress and polish
  • One of two artists to execute on the multiplayer effort in addition to the singleplayer effort.

Bungie Software- Chicago, IL Mar. 1995 - Jan. 2000

Halo (XBOX)
  • Lead Environment Artist worked on it for 1 year to go into a Senior level lead Art position on a project code named Siege created in the Halo engine.
  • On Halo I did level creation and conceptualization of alien environments.
  • Responsibilities on Siege included level look and creation , character conceptualization and creation

Myth 2 Soulblighter (Mac, PC)
  • Level Lead (Art)/Character conceptualization and creation, Game play design
  • Designing, conceptualizing, and implementing environments and assets
  • Character creation from concept to final implementation
  • Working directly with Level Lead (Designer) as well as designing and creating full level experience
  • Technical management for performance and memory
  • Final level set dress and polish

Myth the Fallen Lords (Mac later ported to PC)
  • Level Lead (Art)/ Character conceptualization and creation, Game play Design
  • Designing, conceptualizing, and implementing environments and assets
  • Character creation from concept to final implementation
  • Prototype implementation of core game mechanics to final implementation
  • Working directly with Level Lead (Designer) as well as designing and creating full level experience
  • Technical management for performance and memory
  • Final level set dress and polish

Marathon Durandal (Mac later ported to PC)
  • Junior(Art)/ sprite character clean up and alignment
  • level art and texture clean up for the Marathon box set





Education: American Art Academy (1989-1993) Course Work: Fine Art and Illustration
Chicago, IL

References: 


Anthony Rod  Senior Engineer
ARod@wbgames.com 


Tony Loquercio  Senior Designer
TLoquercio@wbgames.com 

Mike Lee  Senior Designer
Mlee@wbgames.com 

Willam Kowach Senior Lead Environment
wkowach@phosphorgames.com 

Denny Thorley Senior VP 
Andrew J. Hura Environment art lead
 a_hura@wargaming.net  312-258-0500 

Gabe Bott Tech Art Lead
g_bott@wargaming.net 312-258-0500 

TJWagner Creative Producer   
t_wagner@wargaming.net 312-258-0500

Peter Kennedy Lead engineer   
pkennedy@babaroga.com

John Ybarra Environment Lead
jybarra@babaroga.com

Heather Smith lead 2D artist
hsmith@babaroga.com


Peter Kennedy Lead Engineer


jybarra lead environment 


Chad Thelen Senior Artist 
 chad.thelen@highvoltage.com


Heidi Foland Artist 
 heidi.foland@highvoltage.com


Jason Segarra Engineer 
 Jason.Segarra@highvoltage.com

I can provide more references if needed. 



773-681-0488
Cell: 847-902-8174


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Tuesday, December 13, 2011

Wade Basement

In addition to working on the Single player on Fear 3 for the first year and half, I also was asked to head up and schedule out the Multiplayer portion of Fear 3.  Working directly with a group of great guys at Warner Brothers Interactive, we brought the public what is in my opinion the best thing about Fear 3 and Day 1 Studios ; a great multiplayer experience!  

What you see here is a compilation of hands on stuff I did for that multiplayer experience above and beyond the tasks indicated above.  My tasks included layout and model construction along with full lighting and optimization implementation.  In most cases, I worked out the layout from proxy on through to full completion with a modest team of modelers that assisted in final set dress items as well as some structural items.  In other cases, such as Wade basement, we assembled these scenes from pre-existing tileset elements that were built for the single player.  It was my goal to keep that to a bare minimum as I find it more then disappointing if I play a multiplayer that is riddled and/or lifted from the single player experience.


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