Contact info

  • Personal information
      Wesley Tack
      United States, CA

      Website: www.wesleytack.com
      Mail: info@wesleytack.com
      Skype: wesleytack

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  • Professional experience
        The Order: 1886 (PS4)
        I started working for Ready At Dawn Studios in October 2012 as a Level Designer on their new IP The Order: 1886. I am privileged to be a part of this talented company and to be working in such an amazing environment.
      The Chinese Room
      University of Portsmouth
      Winston Churchill Avenue
      PO1 2UP Portsmouth
      2011 – 2012
        Amnesia: A Machine For Pigs (PC)
        I worked on Amnesia: A Machine For Pigs as the lead artist for a year. Developed by The Chinese Room, Produced by Frictional Games. I got in touch with Dan Pinchbeck through Robert Briscoe as he was working on Dear Esther. The unique story and setting Dan was so excited about during our first conversation drew me into this project. That and the fact that it’s a survival horror game. I really enjoyed working on this project and it’s great team. Amnesia: A Machine For Pigs is scheduled for release Q1 2013.

      Recommendation:

      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.”

        Mirror’s Edge (PC, PS3, XBOX360)
        I was hired by DICE to work as an environment artist on Mirror’s Edge which was build on the Unreal3 engine. Soon after I got hired I received the opportunity to work on the company’s internal demo level of the game to be shown at GPMM, e.g., The Edge, which later served as the first level of the game. I initially started as an environment artist, but soon after due to tight deadlines I also focused on level design and Illuminate Labs lighting system to speed up the progress. I ended up working on three of the games ten levels, e.g., The Edge, New Eden and Kate.

        Battlefield: Bad Company 2 (PC, PS3, XBOX360)
        After my work on Mirror’s Edge was completed I was moved to another one of DICE’s projects: Battlefield: Bad Company 2. I mainly worked on two multiplayer levels (White Pass and Nelson Bay) and partially on a single player level (No One Gets Left Behind). For this I had to learn FrostBite 1.0 the studios in-house engine. My job on this project was mainly to define the main outlines of the levels by sculpting the terrain and laying down the first art pass and make it work in favor of the strategic elements that the game has to offer.

      Recommendation:

      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.”

      Recommendation:

      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.”

      Recommendation:

      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.”

        Designed new office system, streamlining billing process. Implemented and maintained new company website. Moved company into digital realm through use of CNC technology. 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.

      Recommendation:

      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.”

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  • Modding experience
        I started a Half-Life² modification called Off Limits together with Maarten de Meyer who did all of the programming. These were my first steps into full game development. For this I had to pick up on a great deal of skill sets e.g., modeling, texturing, level design, environment art, Half-Life²’s Source engine and it’s HAMMER editor. I designed and created both the menu’s and UI as well as maintain and run the entire project. I designed and created both our vehicular levels “Styx” and “Undersiege” from scratch and created the unique assets needed for them. I redesigned and updated Robert Briscoe‘s “Russia” level to meet with our game play. You can download Off Limits or gather more information from out our ModDB profile.

      Recommendation:

      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.”

      Recommendation:

      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.”

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  • Freelance
        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.

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  • Education
      VTI Waregem – Welding/Construction design
      VTI Deinze – Welding/Construction design

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  • Skills
      Environment Art
      Level Design
      Construction Design
      Game Design
      Art Direction
      Lighting
      Modeling/Texturing
      Importing/Exporting
      2D/3D Graphics

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  • Software
      Autodesk 3DSmax
      Autodesk Maya
      Adobe Photoshop
      Half-Life² Source
      Unreal 3 Editor
      Frostbite Editor
      PC/XBOX360/Playstation3
      Quake 3 GtkRadiant
      Sony Vegas

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