mlroby.ca

Project Name

Tom Clancy's Rainbow Six : Siege

Role

Events-Cell Illustrator
Senior UI Artist

Date

From May 2019
To Present Day

Contact

email@domain.com

000-000-000

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Rainbow Six: Siege MUTE Flesh & Metal is the reworked version of the 2020 edition after it's very difficult launch. This new edition featured a brand new Arms Race gamemode, where teams of Robots or Organics upgrade their weapon after each takedowns.

This rework needed a complete HUD overhaul to be able to showcase the weapon tier'd advancement, next obtainable weapon and all your teammates and opponents progress.

My job consisted to produce multiple in-game UI Menu Flows and Mockups and custom assets ranging from in-game Modal prompts, Rules Pages, button tiles visuals, icons and promotional marketing Key Arts.

At Ubisoft, UI Artists are also considered integrators, as of such I followed and wrote new documentations for processes, workflows and best industry practices over the years for juniors and newcomers alike.

MUTE Flesh & Metal had to be redesigned, or rebuilt, as of such for its first reworked we decided, my Art Director and I, to move away from the orange and magenta theme of the previous edition. Instead we moved to a blue/yellow common contrast to start on a new base.

As objectives in core Siege are always yellow, the overall HUD and Arms Race tiers inherited from that. The final tier item being the Golden Hammer, most of the assets were playing with these contrasts.

The fun of that reactivation though was that we were pitting a full new collection against another; which was a very first in Siege's history. We could then create assets from both of these events and finally have it make sense thematically.

MUTE Flesh & Metal benefitted from unique badges. After having done Snow Brawl, and Rengoku icons, I decided to showcase the skins headgears instead, so we could have a different type of featuring.

It was quite a chunk to get through as it was 17 icons in one blow, which setted a new visual thematic for it's future come backs.

The Tiers Systems was first designed with Roman numbers, but it became illegible at a glance. We, in the end, opted for our digital numbers with a superposition of diamonds to showcase an upgradable state.

This keyart took 5 days to make, 2 of which were during a week-end. I had to make it at the very last minute because character renders were delivered too late into production.

This artwork is amongst the most gruesome ones I've ever done and yet, I have lot of pride of the ending results.

We were heavily inspired by the Lord of the RIngs posters mixed with Star Wars and sci-fi opera book covers.

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During MUTE Flesh & Metal second reactivation we moved back to it's initial red-orange/magenta contrasts on most assets. Only gameplay related elements were hinting at the tiers systems: rules images and tiles.

Our operators cards, done by Justyn Muniz, showcasing sections of the map and, below, the new tiles done to feature the Arms Race to the Golden Gun game mode.

Our goal, when reactivating, I to pay tribute to what we created as a team before, and/or rework what could elevate it to a better visual standard everyone on the project agrees upon.

The new skins badges icons, this time designed by Justyn Muniz supervised under Teddy Blanc and myself.

HUD adjustments of the map markers of players and the brain objective when destroyable.

I think I have a masochistic history with MUTE as all city lights in all skyscrappers were done by hand. We didnt have a very convincing Tower outskirts so I blended the 3D meshes together, re-composed a bigger cityscape and made it our own.

Like mentionned before I came back with a color scheme closer to the first MUTE Protocol event this time around. Also I brought back to moon that was featured, but added Neon signs and floating billboards ala Bladerunner and Cyberpunk.

As 1 skin was Robotic and the two others were Organics, I wanted the Robot to feel like an "Evil Headhunter" akin to mercenary robots in Star Wars.

Art Direction

Alexander Karpazis

David Trinquart

Guido Kuipp

Joanna Tsui

Teddy Blanc

Producer

Amélie Bernard
Anthony Bombardier-Touret
David Riley
Sébastien Lévesque
Thierry Huguenin

Game Design

Arnaud Vannier
Nicolas Lapointe
Joshua Mills

Tech Directors

Adrian Togeskov

Maxime Lagacé

Olivier Couture

Thomas Begne

Programmers

Alexander Kurt

Joshua Crozman

Maxime Cloutier

Nael Jazar

Philippe Genois

Valmin Miranda

Vincent Varlet

Zhuhuii Yap

Illustrators

Florence Trudeau
John Bigorgne
Jessica Pelletier
Maxime Laramée-Roby
Neeraj Patel
Stéfanie Morin
Vanessa Vogler

Data Integrators

Hamid Zafar
Maxime Lagacé
Simon F Hubert
Zachary Hews

Realisation

Émilie Besson

Simon Tessier

UI Artists

Justyn Muniz

Fabien Jean-Claude

Marco Briand

Mathieu Gasse

Maxime Laramée-Roby

Pascale Blanchette

Philippe Fontaine

Stéphane Tartelin

UX Designers

Aurélie Bosc

Bianca Delle Donne

Toni Da Luz

Sébastien François

Audio Team

Adam Tiller

Catherine Valois

Filipe Da Costa

Joël Masicotte

Laurent Martin

Mathieu Daoust

World Team

Alexandre Moge

Étienne Blythe

Frederic Ressaire

Jeremy Dowset

Mahdi Thiab

Yann Sylvestre

Animation Team

Amélie Bouchard

Cato Albu

David Barette

Franziska Marquardt

Jonathan Simard

Pierre-Luc Messier

Stéphane Bonetti

Yannick Tremblay

Marketing Team

Capucine Baumgartner

Monica Penny

Victoria Linel

Vincent Girard

Lighting Team

Dobri Vassilev

Dominique Grandmont

VFX Team

Cédric Segales

Marie Durand

Michel Marois

Romain Thibault

Narrative Team

Cody Hutchinson

Dallas Keller

Ella Siemeni

Nicole Allen-Dexter

Peter Lajoie

Simon Ducharme

QC Devs

Mark Corrado

Mathieu Martinson

Samm Tremblay

Business Team

Austin Rossi

Frédéric Haineault

Joey Audet Pepin

Juliette Lacharme

Luke Anthony Gavita

Valentin Guillemot