As part of the UI/UX team I designed, documented and implemented various elements for the User Interface. I worked closely with the UX designers and often I was responsible for entire areas of the UX. I would later create the UI elements and implement them along with animations and logic. Being part of a team means that our work is always collaborative and we are all responsible for the end product. My work is the result of that collaboration.
Battlefield V (2018) I designed, documented and implemented a "Lego-block" system for all the buttons in the game. The system consisted of only a few elements (each element with assigned behavirous) from which a large number of buttons could be created. Since every button is dependent of the blocks that its made of, the developer has complete and immediate control over an infinite number of buttons by editing the very few blocking elements.
Battlefield V (2018) Minimaps. We wanted to create a modern style for the minimap textures following the updated look of the entire UI. The goal was to leave only the essential information for the player to navigate the world.
Battlefield V (2018) Deploy Screens. This screen contains extensive features which are connected to various systems in the UI. Many of us collaborated in this screen at one point or another and it was vital to maintain clean logics and communicate about changes.
Battlefield V (2018) Soldier HUD. I worked closely with HUD features like the Game Mode Widget, Inventory, Health, Minimap and Squad List. The HUD is a extensive system that required both Artists and Engineers to have an updated blueprint of all the information that could be displayed at any given point in the game.
Battlefield V (2018) Vehicle HUD Diagrams. Working closely with the vehicles team, we wanted to keep a simple and minimalistic approach to vehicle's information. I designed one system to allocate various types of vehicles and seating positions.
Battlefield 1: They Shall Not Passs
As 2D Artist I was heavily focused on UI design and implementation which allowed me to work in many areas related to UI and UX. Working closely with the team I had the chance to create art for the front end, design icons, work with cameras and implement UI elements.
Battlefield 1: They Shall Not Pass (2017) One of my tasks was to capture in-game screenshots for the Front End. The images had to be post-processed and layered in order to achieve a parallax effect.
Battlefield 1: They Shall Not Pass (2017) I was responsible for implementing several UI elements and part of that job involved working with cameras. Using technology developed for the retail game I had the opportunity to frame all deployment cameras for all levels on all game modes.
Need for Speed
My work in Need for Speed Rivals involved creating visual targets for the UI Art Direction, wireframes, navigation mocks and final art for the game. Working on a new studio, GHOST EA, gave me the opportunity to be part of a growing team and contribute to the studio's identity.
Need for Speed Rivals (2013) As UI Artist I was responsible for prototyping and implementing Front End and HUD elements in the game.
Need for Speed Rivals (2013) One of my responsibilities was to shape the mood and look of the Cop's UI identity.
Need for Speed Rivals (2013) We were developing new technology in Frostbite while building the game. I created animated mocks for complex systems in order to communicate our vision to the tech team.
As Video Producer I was responsible for the Video Team. I was responsible for all video material in the game and for developing solutions for real time cut scene events which often featured a combination of UI and video.
Syndicate (2012) I was responsible for creating the DartScan in game solution which allowed us to display videos rigged to a 3D character in a UI framework.
Syndicate (2012) In order to align coders with the designer's vision I created fully animated mocks which later were developed as functional UI interfaces in-game.
For the remake of GoldenEye 007 I was responsible for delivering all pre-rendered cut scenes and managing collaborating artists. My work involved creating the visual style for the animations and designing a render workflow to generate the material.
Goldeneye 007 (2009) One of me tasks was to conceive and create the into titles for the game.
In-game pre-rendered video
In-game pre-rendered video
GoldenEye 007 (2009) Each chapter in the game featured a briefing video which was intended to mimic the interface of a James Bond style smart phone.
Andean Sky is a Sci-Fi interactive web-comic about Ecuador in the future. I had full control and ownership for this project and I had the pleasure to direct a collaborating sound designer who composed all the soundtracks. The story follows an immigrant who returns home to reconnect with his family and his culture. The comic is designed to be displayed on web-browsers and smart phones / tablets.
Andean Sky (2016) Religious identity continues to be an important aspect of the futuristic Ecuadorian culture. Religion, like all aspects of culture, evolves and changes through the years.
Smart Phone & Tablet
Andean Sky (2016) The comic is a multimedia experience which features animation and sound. I designed it to be a simple and emerging User Experience. The user controls the speed of the animation by scrolling up and down while listening to an ambient score.