After completing the Game-art course and two internships in a professional production environment, Stefan has started out his professional career as 3D-modeler and Texture Artist. In the meantime he also grew an interest for the more technical aspects of game-development and picked up programming and started to create shaders to eventually become a Technical Artist.
Editorials/ Interviews:
Working on Horizon Forbidden West as a technical artist:
https://80.lv/articles/working-on-horizon-zero-dawn-as-a-technical-artist/
Good material design:
https://80.lv/articles/stefan-groenewoud-on-good-material-design/
Material Design Approach:
https://www.artstation.com/blogs/stefangroenewoud/46XO/material-interview
In my role as a Senior Staff Technical Artist, I lead the development and innovation of advanced shader techniques and workflows, pushing the boundaries of what’s possible in game art. I also teach, mentor, and guide the Surfacing team, helping them create and optimize textures and develop new shaders. My leadership ensures high standards of work and promotes continuous learning within the team. I design and implement forward-thinking workflows that not only bring innovation to our projects but are also robust and efficient, standing the test of time. My work contributes significantly to the visual fidelity and immersive experience of our games.
As Technical Artist at Guerrilla Games, I was instrumental in creating and optimizing shaders, and authorizing PBR-corrected textures for various departments. As a key member of an eight-person team, I developed and implemented tools and scripts that significantly improved workflow efficiency and robustness. Leveraging my Python scripting skills, I introduced semi-automated processes that ensured consistency across content creation and validated various parts of our pipelines and content.
Researching, creating, optimising and delivering shaders. Producing textures in a photorealistic style for Horizon Zero Dawn, which had a wide variety of materials. To ensure shaders were used in an orderly fashion by different departments, we provided documentation for a seamless hand-off. On multiple occasions provided support (with different tasks) to several departments during the pre-production and polish.
Creating, dressing, polishing and/or lighting environment art from block out to completion (for Dirty Bomb and Gears of War Ultimate Edition). Mentoring intermediate Zbrush users, investigate new workflows, write and maintain internal documentation for new starters and colleagues.
Model and texture environmental assets or props for AAA projects based on briefings (E.g., The Witcher 3 as credited).
Besides working for triple A studios I've had the chance to work closely with Gametextures.com for whom I did individual textures which are now being sold on their website.
Responsibilities: High/Low poly modelling, Texturing, Uv-mapping
As intern Asset-Artist on Killzone: Shadow Fall, I was responsible to model High and Low poly assets to improve visual fidelity for the PS3 to PS4 transition, create shader and textures that matches the photorealistic style of the project. In addition, we did our own research on material expressions or technical functionality.