IO (www.ioi.dk) is the place where my life and CG had crossed paths again.
I left CG while it was the primitive form of the artistic empire it became later.
To me it felt like a bottle-neck and for six years I did not touch a computer.
IO took me in as a trainee. At the time I was cleaning streets in Copenhagen.
I started out doing some 3D for Freedom Fighters, a game published with EA.
I worked all in all 3 years in IO, shifting at a point from level design to the art department.
In 2005 I left to travel the world. Since then I wondered through the offices of IO for some quick work and was always treated like it was my home and natural habitat.
Freedom Fighters, was my 1st touch with game production. I started doing the simplest of 3D background art for all levels and later, when my 3D skills became trustable enough, moved into level design on Governor's Island with 2 of my colleagues.
Hitman Contracts was a speed product, designed from start as a painkiller to Eidos's agonizing deterioration in stocks. It was, in my opinion, a very polished, professional act of game manufacturing with a timeline of 8 months, and the process completely controlled from day zero to the last.
My role, however, was the least satisfying: I was given props to make. This mechanical job should never be assigned to any CG worker, as blue collar as they be, unless they ask for it. It should be trainee work en route to more sophisticated roles in the pipeline.
By the end of that project, however, I was insistent on moving into art and IO started up their art department, under Rasmus Kjaer and later with Martin Guldbaek. Our 1st job was Project M that turned later into Kane & Lynch.
Kane & Lynch started very differently from how it ended up. It had quite a few shifts
In character until it settled down where it did.
I did some general art for this project as an IO Interactive employee in Copenhagen,
Depicting environments, atmosphere, characters and storyboarded some scenarios. Some went into the game- some didn't.
As usually was the case with IOI, I was given great freedom with my art and ideas to offer the level designers and art director whatever came into my mind and had visual form.
ChimpKing was a 4-month long project designed to form a look for a game pitch contracted by IO Interactive.
the base wish expressed by the creative head of the group- Janos - was to "make a game with chimps" and work went from there on, covering all ranges of design and concept in the way I thought might best describe such a game.
I started with some quick chimp sketches while studying chimp behavior, societies, environments and most than all- look & movement.
From there I quickly spread my work onto other species and inter-species interactions, then environments, colors and scenarios.
Styling went toward cartoonish and when we reached the point of 3D we contacted Yuval Nathan who helped with everything:
improving on design, modeling, rigging, shading, animation, story and overall concept.
The culmination of the project was a 3D short which demanded another one be made to proceed and tell a short story that would give the feel of the game. We had that on the way and then economic depression struck. It was stopped at animatic stage.
Storyboarding on a big scale was something I started with when coming back to Israel from my year's travel. I started freelancing as a storyboarder and occasionally doing concept art for TV. On my customers' list I have
> Phone & cellular companies: Bezeq, Cellcom, Pelefon
> Banks: bank of Israel, bank Hapoalim, bank Igud
> Food & such: Strauss, Shufersal, Nestle, Spring, Tnuva, Yotvata, Telma
And others such as the Kosovo government, Teva, Volvo, AIG and more.