thomas roach - generalist portfolio june 2013

7/28/2019 Thomas Roach - Generalist Portfolio June 2013

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PORTFSprin


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Self PoStudies on the

AF

HallwayCarniva

Koala Ex

Seasonal Ch3D Level for Y

Octupus SurfacinCredits, Logo, and Typ

Graphic AVec

MusicHalloweSelf Por

Self PortraColor Pattern

Game of ThronCover and Layo

Letter Shape and

Rebranding of JaWarhol / Pikachu /TAMU Department of

Logo Design for Hex TacBranding, Packaging, and Letterhe

Branding, Marketing, and Advertising for TAMU AC


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Traditio


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PaintiAcrylic / Canvas

These paintings are a study not in form, but in

to bridge the gap between realistic and s


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SELF PORTRAIT:

Ballpoint PThis work stemmed from an interest in facia

exploring the human gure. Using ballpoint pextremely precise markings over a large canva

for extremely con


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STUDIES ON THE HUMSoft Pastel / China Mark

These quick studies aim to replicate the humvariety of focues, such as tonal variations, postu

facial features, an


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3D ANIMA


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BO

Using my own head as a reference, this Borgon facial topology and a merge between organ

elements, such as a reinforced jaw line and


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N

This bionic bird model was constructed co

NURBS surfaces to create a smooth yet r


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PUMPBlender / Autodesk Maya / Ado

This scene is the result of a 1-hour virtual pu

contest. I focused instead on shading and


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APPLE S

Using nothing but procedural textures, I did my

shade, and texture a reasonably


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DINNER TABlender / A

Utilizing quite a few online models, this sceshading and lighting and utilizes several diff

subsurface scattering across the different food


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HALLWAY LIGHT

This lighting study attemtps to replicate creepexisting photographs, effectively capturing the

alte


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CARNIVAL LIGHTBlender / Ado

Shading and lighting an outdoor scene requapproach than the hallway, as outdoor ligh

controlled and more subject to we


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KOALA EXPRESS

This study on facial topology and animation to

from start to completion. By using blend shapedifferent muscle groups, a wide range of emo

acheived without having to design each spec


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SEASONAL CHANGES Blender / Adobe After Effects / Ado

This early project presented multiple challunexperienced group of three: the modeling a

grass and trees, the animation of hundreds of o

seasonal changes, de-aging all of these compon

and a very short time frame for working and retrees we turned to an addon to apply rigs to ev

leaf as well as a default wind animation to mover the years, while an early foray into pipelin

animate the objects, surfaces, and lighting at


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3D Level for Youve G

This Super Mario Bros. inspired environment wmixed-media short Youve Got Mail, in which

go into the game to rescue his friend from a


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OCTOPUS SURFACING FOR Autodesk Maya / Aut

The group project Kai Kala tells the story ofimagination and creativity, which is physica

through an octopus as he draws, an octopus wAs such, my surfacing for the octopus reec

hand-drawn nature as well as touches on his c


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CREDITS, LOGO, AND TYPE FOR Adobe After Effects / Ad

As the story unfolds, the colorful octopus m

battle the squid, who is taking the color frocreated the lighting and particle effects both

and for the animation in addition to the ar t for bcharacters. The text was meant to feel both ch

drawn, as well as the twist on the department


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GRAPHIC ART AND DE


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Vector ArtAd


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MUSICAL VISU

Adobe Illustrator / Scrap Booking P

Abstract visualization of a section of Havendapiece by David Holsinger. Concept and pla

Illustrator, with the nal project being compl


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Halloween colAd

A dual exercise in color study and target dem

series attempts to cater the feeling of Hallow

age brackets by changing nothing but color. T

signals to young children the theme of costum

while the middle promises teens a late nightThe top right paints Halloween in the sense of

appealing to an older demographic in a more pro


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Self Portrait: VeAd

A self portrait in the style of rotoscope, this

forming a mosaic of colored circles and further

large areas of color. By waiting to apply dark oshading was completed, the result bears som

to Cel-Shaded 3D work, both in appearance an


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Self Portrait: TypAd

Portraits are frequently made using typesets

differentiating weights and contour to abstr

their subjects. This portrait aims to acheive

sacricing clarity through abstraction in favor oTo create a greater challenge for myself, I utilize

in a thinly serifed font and focused on subtle


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Color Pattern RainbAd

The focus of this pattern was to abstractly

interplay between additive and subtractive


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Game of thrones col

Ad

This piece of pop ar t centers around the relatiocolor and faction relations in the popular TV s

Thrones and is represented in the style of an


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Cover and layout forAdobe Illustrator / A

Inspired by technology magazines, the layout here

content very naturally. Featuring an interview with the leadArtist for World of Warcraft, large landscape images we

into the cover, Q&A session, and the articles introd

HT

INTERNCHANGGAM

The World Wide Web From Mario, to Madde

$4.99US|FOR

WarcraftsRob Simpson

and the Makingof His World

Why EA SportsMadden NFLWont Die

TheWild & Crazy

Scienceof Mario

LOGGINGON | MAY2011

PUTTINGTHE

WORLDIN

WARCRAFT

Gary Platner, WoWsLead Environment Artist,talks world design withRob Simpson in thisGAMER magazineexclusive interview.

ARTWORKBY BLIZZARD ENTERTAINMENT

SIMPSON: Hi there, ImRob Simpsonfrom the

GAMERmagazine StreetTeam and today join-

ing meI haveGary Platner, thelead environ-

mentartist forWorld of Warcraft, and wevegot

anexclusivechanceto interv iew him, askhim

afew quest ions, and p ickhisbraina l i t t leb i t

aboutthe coming expansion. So, Gary, to get

started, why dontyoutel l usal i t t leb i tabout

yourself and how you gotinto the gaming in-

dustry.PLATNER: Ijus tans wered anad inthepaper al ongtime ago backinabout93. Ian-

swered anad fromSega. They needed artists,and Ihad justgraduated so Iapplied,but they

didnthire me because Ididntgo to ArtCenter.Apparently they thoughtIwas good enough,but

Ididntactually go to ArtCenter,so they didntwantme.Butitgot me into thinkingaboutvideo

games,so Itookthe firstjobthatI could,alittlegame company inCosta Mesa.I worked therefor afewyears,Iworked atInterplay for about4

years,Iwas artdirector onFallout2,I was leadartiston Fallout1,and alittle biton Torment.

And thenIwent and started atBlizzard inMayof 99.Ive beenhere ever since,about11 years.

Cool, cool. So tell usalittlebitabout whatbeing

alead environmentartistentails. Well,the envi-

ronmentteamis very small,we only have about4 people,and its our jobto make the world.I

always say we putthe worldinWorld of War-craft.We make allthe naturalelements to the

game,the trees and the rocks,allthe ground tex-tures,the sky clouds,evenwater,everythinglikethat.We also do afewother things like allthe

loadingscreens and the little in-game cinemat-ics whenyoustarta character,we also do that.

Butour mainjob is to provide artworkfor theexterior leveldesigners.

Awesome, so kind of givethemalot of thetools

and piecesthatthey need to maketheworld hap-

pen. Yeah,we give themallthe art, we make allthe artwork,we workwith themonhowwere

goingto make azone.Wellmake alittle demozone with our artworkand justgo fromthere.

So afteryears of conceptualizing and designing

theseWorld of Warcraftenvironments, how have

thesetoolsor processesthatyou and yourteam

usesortof evolved overtheyearsand changed?

Oh,theyve evolvedalot.We have our ownpro-prietary software called WowEdit.Its our owntool,and that has changed many times overthe years;actually,almostevery month theressomethingnewadded. We have avery activetools team.We callit tools,theyre justfunc-tions and things we canputinto the game,put

into WowEdit,rather. So WowEdit has really

changed; its really turned into this greatarttool,its areally nice paintingtool.We canpaintand texture terrainwith aWacompen, so youcanpush and pullgeometry and move trees andscale stuff around and paintonour textures.Itsvery artistic,and thathas really improved alotover the years.

And so now overthe yearsas these environ-

mentshavebeenchanged oradded witheach

new expansion, whatkind of challengeshave

youbeenconfronted with? Especially withCata-

clysm; theresa lotof changescoming there.Right,right.Well,the big challenge was for usinthe beginning to really make the old worldlookalittle more updated.Theres alotof stuffwe couldntdo,and alot of people dontknowthis,butthe reasonwe did alotof things inthe

old world was because of our limitations of theengine.Youcouldntsee very far,we had athingcalled LOD,which is levelof detail,and itwouldina sensereduce the polycountof mountain-scape --whenyoulookinthe distance,itwouldkind of remove afewpolygons.So we would

make our mountains alittle bitdifferent.Now,we donthave to worry aboutthat; youcanseemuch further inWoW,our mountains and ter-raincanlookalot better.So whenwe wentbackto Cataclysm,we wanted to make allthatstufflookbetter like we did inNorthrend,make themountains looka little more detailed,which

we couldntdo inthe beginning.Deepholmwaskind of tough.We wanted to do some giantcaveinside some kind of planett hing.We werentsure howto do it,so we thoughtwe wanted newtech,or we thoughtwe may need it,where wecould make terrainupside-down.So wed have

the same terrainuphere that we could have onthe bottom.We were sure we wanted that,andwe gotthe tools teamto make thathappenforus,and thenwe decided we had a differentsolu-tion,and we didntend upusingit.And the tools

teamwas like Well,we spentmonths onthis,and youdontneed it?And Im like Well,Imsure welluse it,butjustnot today.

So whataretheotherstepsthatyourteamhas

takento go from hearing theinitial story pro-

gressionplan forCataclysm to visually incor-

porating and enhancing inall of theseaspects

of thegame?Well, any time yougive anartistsomethingnewthats old to workon,we wantto improve italot.With Cataclysm,itwas aboutthe same kind of progressionwe would do; wewould talkaboutazone and talkaboutwhatwe

wanted to do,and allthat stuff would happenonpaper.For anartist,we need to see that,andwe need to visualize howthats goingto look,so we would do lots of concepts.Justbigpaint-ings abouthow we wanted things to look,sowe could approve whatwe wanted.Once wesee allthe colors,thatway wellknowif thatssomethingwe wantto do.So welldo alot ofartwork; wellhave JustinKuntz,Gus Schmidt,he would do thatonour team,MarkGibbons alittle bit.So once we have apiece of art,abig

concept,wellfromthere we canjustmake thewhole game.The conceptis our roadmap.Wevegotthe colors of the fog,weve got the lighting,the ground textures,howour trees are goingtolook,its aconsistentthing. Youknow,peopleprobably dontrealize thatwhen youmake agame like World of Warcraft,youneed to makeitas though one persondid it,but many peoplewould have worked onmany differentaspectsof it.Differentteamdoingthe buildings,differ-entteam doingthe trees,and lightingand ev-erythingbutits such anartistic style,youknow,

stylistic game,we wantitto looklike itwas oneguy who did it,like its acomplete painting.

So I know youveworked onalot of pieces, now,

overtheyears, whatsyourfavorite new environ-

mentadded orchanged inthis upcoming expan-

sion? Oh,welltheres so many thatare my fa-

vorite,of course theyre allmy favorite,theyreallreally good.

Well , youcanp ickafavori te. Ican; Ido have afavorite.Vashjir isreally amazing; itcame outreally good.When we firstheard aboutit,do -inga whole underwater zone was like Howare we goingto pullthis off?This is goingto

be crazy.But itcame outreally,really good.Ireally love LostIsles, Ireally love Kezan,thestartingzone for the goblins.Butmy very,veryfavorite zone has got to be Gilneas,for theworgen,the worgenstarting zone.That cameoutso good; its just the consistency betweenour buildings,even the clothes the worgenare wearingand the humanversionof themare wearing,the ground textures,t he light-ing; its justa cohesive theme and everythingworks so wellinthat zone.Its justgorgeous.

Wasthereanything thatyoucan currently do

now thatdoesstand outthatyou couldntdo

beforeg iventhosetoo lsand otherthingsthat

haveevolved? Right,right. Well,there are ac-tually lots of things.To mentionafew,I alwaystalkat Blizzconaboutvertex shading,one ofmy favorite features,where we canadd colorand light.We canpaintthat inessentially any-where we wantto,we canuse itas a highlightor ashadow which adds more dimensionforthe game.Thats always beengreat,and wevealways done more with that. For Cataclysm,we have a thingcalled pointlights, which is

like addinga lightto,say alamp.We canputalighton alamp nowand itwillilluminate theground around it,illuminate the character,or

add color.Or say if there wasntalamp there oranything,we justwanted to add differentcolorto azone; well,we cannowdo that with these

pointlights,and add alittle more color,alittlemore shading,stuff thatwe couldntdo with ourlightingsystembefore. Really cool.But prob-

ably the bestthing,the most incredible partof our tools,is athingwe callLiveUpdate.Theideais,if were in WowEdit,and youre making

something,youre pullingterrainand stuff,what

youhave to do if youwantto see thatin game,youhave to levelbuild it,you have to actually

putit inyour local build of the game,runyourgame,and see it.Now,I canworkon WowEditand have the game runningand see whatImdo-ing.Ican move abush or move atree or do ter-

rain; Icansee thathappeningingame.BecauseWowEditis close to whatthe game looks like,butits notexactly.Ineed to see howthings re-

ally are lookingfor the player,so nowwe candothat.And thattoolis the besttoolthatwe have.

Alright, well, Gary, thank you very much for

joining us, and thank youto all of you athome

forgetting usthisexclusiveinterview withGary

Platner, thelead environment artist. Well see

youin Cataclysm.

IMAgEScOuRTESyOfbLIzzARdENTERTAINMENT

MAy 2011

gAMER MAgAzINE150 151


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Letter shape and pattAd

In a study on using lettershapes as design elements, I optthe blandest characters I could nd: O in Helvetica Bomultiples together, and adjusting size and rotation, t

gains a sense of indeterminate motion from an initially


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Rebranding of Jack & JilAdobe Illustrator / Ado

For my rst major rebranding project, I chose Wacos lo

Jack & Jill donuts. The redesign included logo variawebsite, packaging, uniforms, nametags, menu, and aThe menu takes imagery from the websites background

inspired donut hole packaging draws from the nurse

Thomas


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Warhol / Pikachu / CMYAd

This design harkens back to one of the fathers of pop art

modernize his inuence. An offshoot of Warhols famous

series, Ive replaced the actress with a subject perhaps

known: the star of Pokmon, Pikachu. Warhols scree

a popular technique for mass production and used copopular culture. This is mirrored here, as the widespreaprinting has made an impression upon society, leading to

of an appreciation for digital art rendered utilizing only th


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TAMU Department of FinancAd

When asked to design a (relatively wordy) poster for

Schools Department of Finance in honor of its being ra

Nation, I rst decided on a more artistic approach. Aaccount how non-designers (namely Finance students)poster, a more reserved version was created. The na

elements of the two together, in effort to be acceptable

In a recent study done by the

WALL STREETJOURNAL,TEXAS A&M UNIVERSITYS DEPARTMENT OF FINANCE

was found to rank fifth nationally according to recruiters

and the general quality of all graduates. Taking into

account location, caliber, and breadth of study, TAMU

beat out many prestigious universities, including the

University of Chicago, California, every member of

the Ivy League, and most importantly, texas university.

RECRUITERS

andwherethey chooseto

A&MUNIVERSITY

Texas

Dept. ofFINANCE

BEST

finance department

in terms of the quality and

of all graduates.


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Logo REDesign for Hex Tactical R

AdA rearms training and consultation company, Hex Tactical Resources reoutlet and team as The Hive. As such, this logo reects the nature of

by means of an edgy honeycomb of six hexagons. [www.hextactica

Certified Organically

On a Caribbean


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Branding, Packaging, and Letterhead forAd

Cacao refers to the bean and tree from which chocolate derives an

the organiac aspect of this candy bar. The idea behind Cacao

mixture of dark chocolate and various mix-ins, such as fruit, nuts, or

packaging pitches organic and maintains continuity as a backgroundlogo variants, which although change in color and form keep a simstay true to the brand. Cacao is aimed at young people, chocolate lov

organic food, and could be seen both in grocery stores as well as loc

1106 Holleman Dr. College Station, TX 77840 t.254.855.9586 f.254.756.6933 www.cacao.com

OrganicDarkChocolateOrganic DarkChocolate

OrganicDarkChocolateOrganicDarkChocolate

254.855.9586

Thomas Roach

www.cacao.com

1106 Holleman Dr.College Station,TX 77840

[email protected]

254.756.6933

254.855.9586

Thomas Roach

www.cacao.com

1106 Holleman Dr.College Station,TX 77840

[email protected]

254.756.6933

c c c t .

c t

.

t t ,

Organic DarkChocolateOrganicDarkChocolate

c cc c

Cacao Organic Dark Chocolate Co.

The Office of the CEO

1106 Holleman Dr.

College Station,TX 77840

c cc c

NET WT. 3.5 OZ. (100g)


Certified Organically

Grown and Processed

Ingredients: o

organic sugar,

(May contain t

50255 254000 0

Nutrition FactsServingSi ze: 6 pieces (38g)

Servings Per Container: About3

AmountPerServing

Calories 200 FatCal. 130

Total Fat 13g 21%

Sat. Fat7g 37%

TransFat0g

Cholesterol5mg 2%

Sodium 5mg 0%

Total Carb. 20g 7%

Dietary Fiber 2g 9%

Sugars 17g

Protein 2g

VitaminA 2%

Vitamin C 0%

Calcium 2%

Iron 2%

LOTNUMBER:

090

P.O.BOX 183

CALL TOLL-FREE 1.888

Tastes best at 7

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stimulated the co

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extra cocoa butte

bittersweet coco

intriguing,we can

disappointed.

Thomas

USDAOrganic DarkChocolateOrganicDarkChocolate









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Branding, Marketing, and Advertising for TAMU ACMAdobe Illustrator / Ado

ACM SIGGRAPH is a worldwide organization dedicated to the advancement of computer graphics and interactive techniques, dealing with the synthesis between art and techdeveloping the image for the TAMU chapter as a volunteer during Fall 2011, my second year as a Visualization student, by creating early posters, logos, banners, and t-shirts. Aapproached and the need for visual media increased, the position of Advertising Director was created to better recognize the work needed to maintain the brand that I had created. T

chronicle my rst two and a half semesters as the Advertising Director for TAMU ACM SIGGRAPH, including revamped ofcer and member t-shirts, an 8 vinyl banner, and 24 chrono

Friday,Feb.246:00 7:30 PM

Itsmore thanjust ascript:Joinus thisFriday for the scooponvisual storytelling!See tinyurl.com/storyboardprofor details.LangfordC, Room307

Friday,Mar.96:00 7:00 PM

Soyou have your story,what next?Joinusthis Friday for the journey intocolor!See t inyurl. com/colorpros for details . Lang fordC,Room307

Wednesday,Apr.116:00 7:00 PM

Come joinusfor arecap of our colorworkshopandelect next yearsofficers!See tinyurl.com/electsiggraphfor details. LangfordC,Room205

AND OFFICER ELECTIONS


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Bachelor of Science in VisualizatioTexas A&M University, Co

Relevant

3D MoEditing

Creating Web Desig

Game DesiGraphic Desig

Shading and R

Outdoor Activities Director - FBC Waco Summer Day CampGained valuable experience in working simultane

all ages and backgrounds, including children and aduleading large groups of school age children in difcult, cam

Advertising for Single Parent Support WoLearned rst-hand the challenges of wo

effectively advertise a local program through visual me

Graphite

After Effects, Flash, Illustrator, InDesign,Autodesk Maya, Autodesk Mudbox, Cycling 74

OMicrosoft Windows

W. Graham Horsley En

Memorial Student Center Visual Arts Comm

TAM

Colleg

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thomas roach - generalist portfolio june 2013

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