Mobile Game

Tech Artist - Bitloft - 2019

In 2019 I worked as a Technical Artist at Bitloft studio. One of the projects I worked on was a mobile horse riding game. Due to the small team size of 10 and rapid production schedule of 3 months I was afforded the privilege of wearing many wide ranging hats.

Lighting Artist:

Throughout production I set up and updated lighting. This included developing shaders, optimizing light bake memory size, and profiling performance.

    Performance profiling, Target Device testing, Project builds:

    With the engineering team stretched thin I took on the responsibility of setting up project builds and producing weekly review builds. I used these builds to profile performance on our target mobile device.

    Oversaw visual and technical direction for environment and character art:

    One of my key art asset production responsibilities was to set strategies for identifying and meeting performance goals. Without a dedicated art director I also worked to ensure stylistic consistency across our assets and scenes while working with the environment and character artists on optimization strategies.

    Team Coordination:

    Wearing so many hats on this project meant I was constantly coordinating with most of the team members and maintained an eagle eye view of the production. I was able to leverage this to assist management. As production ramped up my performance earned me the privilege of being included in virtually all meetings to guide sprint planning, coordinate asset timelines, and identify when inter-disciplinary meetings were needed, then schedule and lead those meetings.

    Player character integration, animation, and VFX:

    As the technical artist it was my job to be the glue between art, design, and engineering. One of my production responsibilities was integrating the player character art assets into the player controller. To do this I built a mechanim blend tree that leveraged the player controller script to drive animations. In addition to implementing the animations handed off by the character artist, I created and implemented reaction animations for various mechanics such as a headbutt animation to communicate play errors and leaning blend poses for turning.

  • I set up procedural animations for the horse hair and tail, using a hybrid approach blending joint animations, dynamic bones, and cloth simulation to create a system that was performant, controllable, and procedural.

    I prototyped shaders and implemented assets for the character customization systems.

The Crystal Core

Tech Artist - Bitloft - 2019

The Crystal Core is an educational game developed by Bitloft game studio. The purpose of this title is to create and maintain a gamified platform for students to undergo high school courses for credit.

In 2019 I worked as a Technical Artist at Bitloft studio. I performed my duties remotely and maintained consistent and productive communication with the team. A large portion of my work on The Crystal Core has been centered around the creation of shader effects for characters, and subsequently scripting tools and drafting clear documentation to streamline the installation of those effects. My responsibilities also include but are not limited to, training team members on the use of our version control tools, participating in interviews as the tech art department representative, and implementing character assets into unity and our existing systems. I always keep performance, visual quality, and the needs of other team members in mind.

VFX Work

Fire Bird Effect

This fire effect was my first venture into using amplify shader editor for rapid shader creation. I consulted with the art director and lead character artist to dial this effect in just how they wanted it. The core of this shader is a simple performant effect using scrolling hand drawn noise. This effect went on to be the core of my latter sfx projects at Bitloft.

  • Trap Effect

    This effect is virtually identical to the concept art I received at the start of the design process. I create and documented a streamlined pipeline for the design team to install and animate this effect in game.

  • Vanish Effect

    This particle effect was largely self directed. At first management wanted a quick fix for a small problem; an effect was needed to cover over enemy characters being removed after being defeated. As a member of the tech department I was privy to many interdepartmental concerns and tasks. I noticed that many departments needed various objects in game to disappear in a stylistically consistent way. I had just finished the trap effect and documentation and saw an opportunity to take what I had learned to the next level. I proposed an all purpose vanish effect with a user friendly installation pipeline to management and got approval for the task. Over the next 3 weeks I conceptualized, designed, and implemented that system and effect.

  • Instalation: GUI Buton

    To keep the effect performant I decided to go with a shader based effect similar to what I had created previously. This presented a serious difficulty, my custom shader needed to be swapped on and off the character at runtime. I created a script with a custom inspector GUI that allowed this effect to be applied to any object in the game; logging the current material configuration of the object with a single button press.

  • Instalation: Timeline

    Once the object was set up, Designers could drag and drop predone animation clips into timeline to animate the effect. These clips used animation events to swap my custom shader in and then revert the material to the original shader, while also animating visual parameters of the effect. All told setting up any object to use this effect takes 4 simple steps. I produced documentation with clear demonstration gifs, some pictured here, as a resource to our design team.

  • Tool Creation Work

    Batch Object/Componenent Replacement Tool

    The Crystal Core has hundreds of levels, each set dressed with hundreds of objects. As environment assets were updated it became necessary to bulk replace objects in instances where updating existing prefabs was not an option. To this end for my art test during the interview process I was tasked with creating a tool to assist set dressers in batching the replacement of objects.

  • Projected Floor shader

    Early on at Bitloft I was tasked with creating a shader to speed up the environment teams pipeline for creating ground assets. The pipeline in place relied on UVing a large amount of path objects. To speed things up I was tasked with creating a Shader that could seamlessly texture segmented ground objects without UVs. This required a shader that projected textures in world space and allowed the projection to be rotated in 3 dimensions.

  • To accomplish this I refactored an existing rotation matrix equation, then built that equaiton into a shader graph.

    Environment artists could set the rotation of the shader on a per material basis in the inspector.

Drexel University Adjunct Professor

2017 - 2018

Starting in winter 2017 through this year I worked as an adjunct professor in the Game Design and Production department at Drexel University. My classes ranged from introduction to game design to an AI studio, experimental game design and coding for games. All of these courses contained substantial production components, and each term saw me simultaneously managing multiple game productions. I had the pleasure of working with some of the most talented individuals the industry will welcome in the coming years. My approach to project management was centered around open communication. I set up a discord server so my students could constantly be in communication in a space I could contribute to.

My main goal was to never stifle creativity when possible. I openly voiced scope based concerns when necessary but never stopped my students from failing in an endeavor they were passionate to pursue. Education is the best place to experience failure, and I was always ready to help plan for damage control. I owe the success of these projects wholey to the passionate students at Drexel University.

Music Credit: Vegan Mustache Jazz - Dumb Waiter

Miss Octopie

2016 - Present

Miss Octopie is an indie artist and fashion designer. Her self titled brand is an influential part of the American "kawaii", meaning cute, and J-fashion scene. Originally starting with traditional and digital paintings, she has since expanded into transforming her whimsical art into fashion, accessories, toys and other merchandise. Miss Octopie’s work has been nationally exhibited at galleries such as the Leslie Powell, Los Angeles Center for Digital Art, Bear and Bird Boutique & Gallery, Museum of the Great Plains, the Champagne Room, and Bedford Gallery. She has also been invited as a featured guest at anime conventions such as A-kon and Anime St. Louis to participate in their Fashion Shows. Miss Octopie has traveled from coast to coast to advertise and sell her artist goods at a multitude of art festivals and conventions.

I started working with Miss Octopie in 2016. Since then I have served various roles in her organization. I assist in most aspects of operation including event logistics, research and development, inventory management, product design and media production, including event and social media. I have assisted Miss Octopie with Unity 3D previsualization tools to help perfect pop up shop layouts for her various events.

Miss Octopie Website

This is a gif snippet of a video I constructed as a background for Miss Octopie’s fashion shows.

Goblin Shaman

2016 - present

A passion project I hope to leverage in future personal game productions. I started this project with a frame by frame animation because I wanted to have a clear picture of how the face could move. The concept art departed from this original upright standing design but the spirit and expression is still captured. The technical side of this project is inspired by my desire to analyze and implement any information I can gather from the overwatch character production pipeline. I am conforming to the polycount of Junkrat (~17,000) for the base level of detail, and plan to push how stretchy and cartoony his rig can get to the same extreme as the rigs in overwatch. This is an on going project; updates are posted first on instagram and later here.

Keys to the Collection Lighting


Contract work I completed under Spech.Tech for the Barnes Foundation’s mobile app Keys to the Collection. My responsibilities included but were not limited to upgrading their Unity 4 lighting to the new Unity 5 system, fixing various compatibility issues, improving lighting visual quality, improving the technical quality of assets, and maintaining low memory use.

Meat4every Twitch Channel

2015 - 2016

The Meat4every1 Twitch channel was born from a need to combine the time I spend working on art and other projects with brand promotion. Many of the other projects listed here and in the gallery were created live on this stream.



This webcomic is currently the main focus of the collected efforts of myself, my partnership with Speck.Tech, and our associates to create the foundations for a recognizable brand. These first two strips are the launching point for the development of lore, story, character and world building for an expansive IP.

Derp Wars


Derp Wars is an opinion piece aimed at critiquing Jar Jar’s place in the Star Wars prequels by examining the Darth Jar Jar fan theory. I created transformative parody art to illustrate this narrative. It was an intense but short challenge of my ability to generate art quickly, write a cohesive argument, and bring these elements together with limited animations for a final video presentation.



Singularity was the working title of an exploratory prototype project between myself and Bobby Speck. The idea that drove this production was to create a simple system for demonstrating basic coding principles within a puzzle game. The project was focused on determining whether or not this idea could be viably produced based on our time and resource limitations. The final conclusion was that this was outside of our achievable scope. During this production I able to create a proof of concept framework for turning UI blocks representing code chunks into readable scripts.

2012 - 2013

Drexel University Research Day 2013: Dean’s Award

The project portion of my Master's Thesis at Drexel University, Dead End was a ~15 minute survival horror game, developed over the course of 4 Months. All aspects of this game, code, art, etc. were created by myself during this period. The one exception to this was the in engine video recording plugin AVPRO Movie Capture generously donated by RenderHeads.

The purpose of my thesis was to test two hypothesis. The first, that the externally displayed emotions of a player character (PC) in a third person perspective horror game would influence the emotional state of the player during the course of gameplay. The second, that this emotional shift would impact player performance. 40 students at Drexel University were tested. They were split into 2 groups. In one group the PC was animated to express fear. The other group used a PC animated to express confidence. The results were collected through metrics culled directly from gameplay, and post play session interviews. The metrics, compared between the two groups showed no statistically significant difference in performance between the two groups. The interviews however showed that players viewed the experience and their performance differently between the two groups, the fear group favoring negative accounts and language and the confident group favoring positive accounts and language.

Dota 2 Sets


First Set: Sven

My first venture into creating art assets for the Dota 2 workshop and store. During my time in college I had many opportunities to master the various steps necessary to create professional quality game objects, but never had the time to compile all these steps to create one solid piece. The goal of this personal project was to give myself a chance to take my time and fully explore every aspect of my character creation pipeline in one model. Every texture for this armor set was meticulously hand painted in Photoshop using the same techniques employed in my digital art. Though an incredibly rewarding and fulfilling project, It illustrated for me the virtue of creating a pipeline that reaches similar quality goals but utilizes more than just my painting skills. In my following projects I have endeavoured to find a balance between this direct approach and more procedural approaches to asset generation.

My second venture into creating art assets for the Dota 2 workshop and store. Valve's Shadow Demon character is rigged oddly. His shoulder joints are located near his neck, up behind the clavicle. This placement allows for an unmoving platform around his shoulders, on which spikes can sit and remain stable, while maintaining appropriate movement in the shoulders. Creating shoulder pads attached to the moving portions of the arms of Shadow Demon is made difficult by this. They cannot be created as a single piece, like my concept, but must be separated into multiple independently moving pieces.

My Original Concept

The Rig Structure

Finished Modelling

My third Dota 2 Workshop project. This is the first set I began sketching in Zbrush as step one. My familiarity with the pipeline made me comfortable starting in HD instead of building in Maya first.

Bug Swarm Simulation


The creation of this project was documented in this development blog.

This project was created during my time in graduate school at drexel. The purpose was to explore using simple crowd AI and pathfinding in place of generic particle effect animations to create a bug swarm. I created the effects for a theoretical 3rd person perspective game where the player could transform into a swarm of bugs. Bugs path to a point 10 units forward on the player character’s Z axis. Bugs are physics enabled allowing them to collide, climb over, and push other bugs.



The creation of this project was documented in this development blog.

I developed this project simultaneously with my Master's Thesis, Dead End. It was created over the course of a ten week term as the final submission for my graduate compositing course at Drexel University. A layered, fully realized, Photoshop painting was split and projected onto relatively simple geometry to produce the scene and character. I modeled this geometry to match the images, then rigged and animated the character. The animated scene in maya was imported and assembled in Nuke for a final render. At some point I want to take another stab at this kind of composition in a game engine.

Copyright Ian Woskey 2019