- Personal information
Wesley Tack, Mr.
Phone: +32 (0)484.256.745
- Professional experience
Ready At Dawn Studios
15201 Laguna Canyon Road, Suite 200
92618 Irvine, CA
2012 – 2015
The Order: 1886 (PS4)
I had just started work on Amnesia: A Machine For Pigs, when I was contacted by Ready At Dawn studios located in Irvine, California. Since Amnesia: A Machine For Pigs was originally planned as a ten month project and applying for a work visa in the United States could take a while, I decided to fly over for an interview. After witnessing an early prototype of what would become The Order: 1886, I knew this was going to be a unique experience. I took the Level Design role and started work late 2012. The main level that was assigned to me was “Brothers In Arms”, an infiltration mission where you had to find a way inside the United India Company’s headquarters in search of evidence. I also redesigned the plaza area in “Always A Knight” to have a better reveal of the United India House across the street. Due to production schedules and upcoming deadlines I was also given the task to rescope both the “Under Siege” and “Brother, Let Us Embrace” levels.
The Chinese Room
University of Portsmouth
Winston Churchill Avenue
PO1 2UP Portsmouth
2011 – 2012
Amnesia: A Machine For Pigs (PC)
I was contacted by The Chinese Room late 2011 to work as the Lead Artist on a sequel for Amnesia: The Dark Descent. The sequel being, Amnesia: A Machine For Pigs, is made on the HPL2 engine which was created by Frictional Games for their first title. It has proven to be quite challenging given the tech to compete with today’s visual standards but I feel confident that we succeeded in making an overall great single player experience worthy of it’s predecessor. As the lead I was responsible for a consistent level of quality throughout the game and to make sure that the level design complimented the story they wanted to bring forward.
Dan Pinchbeck – Creative Director on Amnesia: A Machine For Pigs.
“We employed Wes as Lead Artist on the forthcoming game Amnesia: A Machine for Pigs in November 2011. He has led the art development on the game, working closely with the Creative Director, Designer and Audio Designer, as well as managing a Junior Artist and a number of freelancers. Wes’ contribution to the project has been highly significant, and his skills as an artist have made a profound difference to the overall feel of the game, in a way that extends beyond just creating high quality environments. He has an excellent understanding of the contribution art makes to the overall player experience, and has been instrumental is creating the particular tone of the game we have been aiming for. Not only is he a terrific environment artist, but he has a great understanding of the creative use of art tools to aid design, and is highly competent technically. This has been particularly important on this project, where we are using another teams bespoke tools, which are still very much in beta and require substantial effort when implementing things that are usually a given with more stable engines. Wes has also managed to push the actual graphics of the environment to a higher level than we expected the engine to be capable of, whilst protecting frame-rate and player experience.
It has been a pleasure to work with Wes – he is professional, personable and demonstrates great initiative and work-ethic. He is always ready to offer his opinion on team discussions, but equally shows a high ability to self-manage his work and understand briefs, even at an early stage of development. Particularly on a small team development, interpersonal skills are paramount, and I trust Wes explicitly to deliver in this regard as well as in his capacity as artist. The combination of technical understanding, art expertise, ability to cross over into level and experience design, interpersonal skills and attitude to work will, I believe, make him a superb addition to any team.”
Digital Illusions CE (DICE)
P.O. Box 20068
104 60 Stockholm, Sweden
2007 – 2009
Mirror’s Edge (PC, PS3, XBOX360)
I started work on Mirror’s Edge in 2007 as an Environment Artist. The game was built on an upgraded Unreal Engine 3. Soon after I got hired I received the opportunity to work on the company’s demo that was to be presented at EA’s internal GPMM event. “The Edge”, which later served as the first level of the game, was one of three levels I created for this project. The others being “New Eden” and “Kate”.
Battlefield: Bad Company 2 (PC, PS3, XBOX360)
After completing my work on Mirror’s Edge late 2008 I moved to another one of DICE’s projects, Battlefield: Bad Company 2. For this I worked with the studios in-house engine FrostBite 1.5. I did the initial sculpting of the terrain and design blockout for the single player mission “No One Gets Left Behind”. I also worked on two multiplayer levels “White Pass” and “Nelson Bay”. Laying down the first art pass and make it work in favor of the strategic elements that the game has to offer.
Johannes Söderqvist – Art Director on Mirror’s Edge.
“I can wholeheartedly recommend Wesley as an Environment Artist, and I would love to work with him again. Wesley worked at DICE between 2007 and 2009, mainly on Mirror’s Edge. I worked directly with Wesley where he was responsible for the art on several levels. While working on Mirror’s Edge. His tasks included, but were not limited to:
• Working closely with Level Designers to solve gameplay issues and enable the subsequent creation of great art treatments to the roughly blocked out levels.
• Working closely with me to make sure the art direction is followed and implemented in the best way given the choice in environments.
• Modeling and texturing of urban geometry, buildings and props.
• Replacing blocked out placeholders with realistic artwork.
• Placing objects to create a believable location.
• Placing and adjusting visual effects in the environment.
• Establishing basic lighting and color.
Wesley was a pleasure to work with; a driven, self-motivated, problem solver. He quickly understands what needs to be done and comes up with effective, intelligent solutions. He responds very well to feedback, and is at the same time very good at suggesting alternatives. He impressed me the most with his inventive re-use of existing assets and loving attention to detail in object placing.
Mirror’s Edge has received numerous awards, sold more than 3 million units, and has been hailed as a pioneer in the video game field for the use of lighting and the style in which the
city environments was presented. As art Environment Artist, Wesley was an integral part of the artist team who realized the urban soul of the game, resulting in award winning success and critical acclaim.”
Robert Briscoe – Level Artist on Mirror’s Edge.
“I worked with Wes for two years during the development of Mirror’s Edge and also for many years outside of the industry in the mod scene. Wes is one of the most capable, hard working and inspiring level artists and designers I know.
He has an excellent understanding of how both level design and art should complement each other and also a good grasp of the technical aspects the 3d pipeline, which is absolutely invaluable when it comes to creating an efficient environment.
I’ve often referred to him as the ‘MacGyver’ of 3D as he would constantly surprise me with new and interesting ways to reuse textures and props for something completely different (an air conditioner unit/bench/building etc!), saving on memory, time and effort.
Wes is one of those few with a real passion for what he does, whether it is level design or art; when he does something, it’s done with an eye for perfection, which is a quality I admire most in an artist.
I think Wes would be an invaluable addition to any team, and I look forward to working with him again in the future.”
Sindre Askim Grønvoll – Level Artist on Mirror’s Edge.
“Wesley is one of the most dedicated and hard working artists I have ever worked with. His appreciation and understanding of the close relationship of environment art and level design proved to be very valuble for the team during our production of Mirror’s Edge, and he was always searching for new ways to further push the quality of both the art and the gameplay.
His background and knowledge of construction principles proved to be a real strength when doing environment art work and I personally learnt a lot from working with him and I hope to get the chance to do so again in the future.
I can without hesitation recomend Wesley to anyone looking for a very thorough, dedicated and talented environment artist with a real flair for both art and level design.”
bvba Tack Roland
Westerlaan 7, bus 21
8790 Waregem, Belgium
1998 – 2007
I designed and streamlined the new billing process. Implemented and maintained the new company website. Moved the company into the digital realm through use of CNC technology and CAD drawing. Implemented new computer controlled equipment, trained other employees in use of equipment and CNC software. Helped steer business into higher profit levels due to streamlining of existing process and implementation of new processes. Proficient at welding and anything construction related.
Roland Tack – Managing Director at bvba Tack Roland.
“Wesley came to work for my company as soon as he finished school as a full time welder constructor in my metal construction shop. Tasks were given to him by myself which he then had to construct into a final product. It became apparent that he possessed understanding of how to manufacture from drawing to a final product. This in the end saves time, resources and money. With the digital age approaching Wesley convinced me to invest in a computer so he could draw out constructions even faster and with more precision. By December 1997 he was drawing up his own construction ideas by using 3D techniques. The visual presentations in the 3D videos of industrial plant projects helped everyone involved in the project to visualize the construction and efficiently perform toward the goal of the project. Due to his hard work Wesley became a self-employed partner within my company in January 1998. With this new partnership we also invested in a new CNC cutting machine which allowed us to construct his pre-planned 3D presentations even faster. Wesley became so good at rendering 3D images, he has eventually moved on to becoming an Environment Artist. Wesley is a very good self employed worker and gets the job done. I see him doing in games what he did in my company and help it grow with current technologies, understanding and dedication.”
- Modding experience
Off Limits (PC)
2003 – 2011
I started a Half-Life² modification called Off Limits together with Maarten de Meyer. For this I had to pick up a great deal of skill sets e.g.: modeling weapons, vehicles, characters and props, UV-mapping, texturing, UI design, designing the game and managing the project, etc. Basically anything we needed to make this a reality. I had plenty of time to learn these skills due to the late 2004 release date of Half-Life². Once out, I got familiar with the HAMMER level editor and the Source engine pipeline. However, my main passion lied in level design and environment art. I created “Styx” and “Undersiege” from scratch and most of the unique assets that came with them. Robert Briscoe donated his “Russia” level and with his permission, I gave it a complete redesign. I also updated or created new assets where needed so it would fit the Off Limits universe. Internal playtests proved we had created a unique and fun multiplayer experience that strongly enforced teamwork. Everyone who contributed on Off Limits was able to find a job in the games industry, which is something I’m very proud of and is a testament to the hard work that was put into this project.
David Shearer – Concept artist on Off Limits.
“I heard about Wes’s work 7 or 8 years ago and he already had a reputation for creating amazing levels and game props. One day a friend of ours introduced us and I was surprised at how he was so easy to get along with. He has never failed to amaze me in his diligence, work ethic, and skill as a technical artist.
I have worked with many people on game mods and its always hard for people to maintain a working team of people. Somehow he has managed an entire team of amazingly talented artists for the past few years, create the levels and other assets, and workon AAA game titles at the same time. Wes is highly respected by his colleagues for his skills as a developer and as a visionary. Check out his portfolio and you will see someone who truly loves what he does.”
Samuel Justice – Sound Designer on Off Limits.
“Wesley has an incredible ability to not only design a world that looks fantastic, but also plays incredibly well. His attention to detail is like no other, he will not strive for anything other than perfection. The results are clearly displayed by his work. Wesley is also a fantastic person to work alongside with, always passionate, helpful and knowledgeable. He will go out of his way to help you. I hope we get to work on another project again in the future.”
Modeling and texturing a race track for the Half-Life² Source engine. Importing of all assets. Adding vehicle support for prototype concept.
Modeling and texturing of several environment assets.
Modeled a high poly “VBCI Wheeled Infantry Fighting Vehicle” for a presentation DVD. Additional exterior and interior renders were delivered from multiple angles.
VTI Waregem – Welding/Construction design
VTI Deinze – Welding/Construction design
Frostbite 1.5 Editor
HAMMER Level Editor
Quake 3 GtkRadiant
Qool Level Editor