I started at Frontier as an Environment Artist and during the production of The Outsider I quickly earned a promotion to Senior Environment Artist because of both my work in creating materials for the open world game as well as my ability to work collaboratively and autonomously with design. At a point in production I was brought aside and asked to take control of all the GGBs (the secondary missions in the game) while every other artist had to take care of one to three main levels.
The GGBs were so successful because of a great design relationship that I was able to make 28 locations (texturing, modelling, prop placement and lighting) which were widely seen as some of the best game-play locations in the game. After this I was given an even greater challenge: One of the key pillars of the game was to have buildings to enter to use to escape. We had none besides the GGBs and main scenarios (about 15). I took on the challenge and created another 60 locations throughout the city that you could use to run through (called rat-runs). Before the game was cancelled I was then moved on to creating all the city wide ambient storytelling and open world events. To put this in perspective in all this time only half of the Main storytelling scenarios were complete and about 90% of the secondary interior and world based game-play (for which I was alone responsible) was finished.
Besides the important communication role of my job working with level design, code (tools team, graphics and ai team) I was also responsible for art asset creation including: Modelling, texture creation, material generation, prop placement and visual style definition. I also worked hard to give the designers the art skills they needed so we didn't have nay bottlenecks from only having one artist.
My time at Frontier outside of work was also very productive! I taught myself illustration, attended concept art classes and ran a life drawing class as well as art directed two independent tabletop storytelling RPGs with my brother.