Saints Row The Third

About the game:

My Contributions:

My role shifted over the course of the project from being the Studio Art Director and then moving into a Product Art Director overseeing Outsourcing role when I began working remotely from the studio.

As Studio Art Director:

  • Allocated staffing and resources from the studio for the art team on SR3.
  • Probed, Provided Recommendations, and Validated high level art goals.
  • Worked with the Product Art Directors to encourage a tighter stylistic development for the product including color palettes and a common visual language.  I can’t take credit for all of the work we did as a group, or in a large part they did before I was on the product full time, but it was awesome to see our discussions materialize not only in the style guide but also in the shippable assets. One of my rounds of feedback led to the team adopting a term I coined…”Exaggereal(TM)”

As Product Art Director of Outsourcing:

  • Character Outsourcing

  • Cinematic Outsourcing

    • Active participant in cinematic development from animatics through completion including review, course correction, direction, asset procurement (assignment, collection, creation), staging, etc.
    • Created many of the jobsheets for the animatics and animation pass work that was handled externally.
    • Managed the lighting tasks for the cinematics via the outsourcer by providing direction and feedback.
    • Optimized the cinematics to maintain a minimum 24fps on x360.
  • Vehicle Outsourcing

    • SR3 had the need to update many of the SR2 vehicles to the newly optimized SR3 specifications.  Constraints were extremely tight, the systems extremely complex, and there was a great deal of legacy issues that weighed down the work.  Unfortunately, I came on the project too late to overhaul the system and made the best of what was there by being as concise and straightforward with the documentation and jobsheets that  I assembled for the vendor.


    • It is becoming increasing difficult to “capture” the essence of a game that is in motion in a single screenshot. We did make use of various techniques to compose screenshots that were representative of the player’s experience. Everything was captured from the game, but frequently composited or at a minimum balanced in Photoshop. Here is a collection of screens that I contributed using such techniques for SRTT (think of them as video game photography): SCREENS
  • Technical Art