With over 700+ assets spanning across 15+ game titles, Avatar Clothing is the biggest project I’ve had the pleasure to work on for Meta. My role spanned across disciplines, consisting of managing projects with multiple outsourcing studios simultaneously. I oversaw Concept Art and 3D Art asset creation, monitoring closely for visual and style consistencies as well as technical standards and limitations within our system. I also was in charge of tasking out asset ingestion into our proprietary engine and guiding junior team members in best practices with thorough documentation.
When I joined Meta, a big shift was happening where previously all avatar clothing items (labeled Style 1) were being retired or converted to a new and improved clothing system with a better range of body types, more recognizable and appealing style, and finally - legs! Our team was at the very forefront of this work for Style 2, in constant collaboration with those building these systems internally as we were the first team to test the new boundaries and provide feedback and improvements. As the first artists to work almost exclusively on rewards clothing/content, I created project-wide documentation, tested out ingestion tooling and pipelines, as well as pushed the boundaries for art design with spectacular assets that were outside of the basic free wardrobe such as armor, wings, props, platform shoes, and accessories. I also led improvements to existing clothing items, including pioneering full RGB color options for headwear and eyewear (previously single-color) and new headwear types like horns and floating crowns that broke past prior technical constraints.
On our own team, I tracked all of the asset creation and tasking across disciplines seamlessly, managing drives, tracking sheets, communications and assignments for production and ingestion across internal teams and external art studios. I taught junior team members pipelines for 3D art creation and ingestion, as well as created Maya guides and proxy files for clothing boundaries, body shapes, LODs, headwear/hair creation, and style. I contributed with ingesting assets as well, pushing boundaries for how many assets could be added to each release window, and consistently ensuring deadlines for important launch dates were met without fail. For ingestion, my background in 3D Character Art was significant - as we often created manual LODs for each asset, added custom weight painting, setup material variants, and did initial QA testing ourselves. Lastly, I created many marketing images to showcase assets for our team, and to be used both internally and externally as well as be cross posted for all of Reality labs.
