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Key Artwork and stills from my career as a 3d designer, artist, animator

Some samples

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John Chalfant
Batman: Arkham City — Campaign Key Art At Trailer Park in Hollywood, California, I created key art designs using character assets from the game, developing hundreds of pose variations for Batman, Catwoman, and other characters. My work included posing, lighting, and rendering in 3ds Max, with original layouts selected for the final campaign. The campaign was a collaborative effort, shaped by the contributions of many artists, designers, and producers.
Batman: Arkham City — Campaign Key Art At Trailer Park in Hollywood, California, I created key art designs using character assets from the game, developing hundreds of pose variations for Batman, Catwoman, and other characters. My work included posing, lighting, and rendering in 3ds Max, with original layouts selected for the final campaign. The campaign was a collaborative effort, shaped by the contributions of many artists, designers, and producers.
Wolfenstein: The New Order — Campaign Key Art At Red Engine Productions, I created campaign key art for Wolfenstein: The New Order, working from supplied concepts and developing original compositions. Using game and cinematic assets provided by the development teams and production partners, I upgraded assets, explored layouts through numerous iterations, and handled lighting, rendering, compositing, and final finishing for print-resolution marketing imagery. The work brought together my image-making with the contributions of the game developers, concept artists, and campaign teams.
Wolfenstein: The New Order — Campaign Key Art At Red Engine Productions, I created campaign key art for Wolfenstein: The New Order, working from supplied concepts and developing original compositions. Using game and cinematic assets provided by the development teams and production partners, I upgraded assets, explored layouts through numerous iterations, and handled lighting, rendering, compositing, and final finishing for print-resolution marketing imagery. The work brought together my image-making with the contributions of the game developers, concept artists, and campaign teams.
Warcraft III: Reign of Chaos & The Frozen Throne — Concepts, Storyboards & Cinematics During my time at Blizzard Entertainment, I contributed to Warcraft III: Reign of Chaos and The Frozen Throne through early character and creature concepts, storyboards, and cinematic character creation and animation. This collection pairs my exploratory sketches and designs with scenes featuring characters I helped create and animate. It traces my involvement from the early drawings exploring appearance, costume, expression, and movement through to the finished cinematics. These sequences were a shared achievement, bringing together the work of Blizzard’s concept artists, modelers, animators, and the wider cinematic production team.
Warcraft III: Reign of Chaos & The Frozen Throne — Concepts, Storyboards & Cinematics During my time at Blizzard Entertainment, I contributed to Warcraft III: Reign of Chaos and The Frozen Throne through early character and creature concepts, storyboards, and cinematic character creation and animation. This collection pairs my exploratory sketches and designs with scenes featuring characters I helped create and animate. It traces my involvement from the early drawings exploring appearance, costume, expression, and movement through to the finished cinematics. These sequences were a shared achievement, bringing together the work of Blizzard’s concept artists, modelers, animators, and the wider cinematic production team.
Diablo II — Early Concepts & Original Cinematics These sketches date to around 1998, when I was young and just finding my footing on Blizzard Entertainment’s cinematics team. I created dozens of concepts, with my design for Marius, originally named Farnum, selected for production. The cinematic stills show scenes I contributed to as an animator, modeler, or texture artist. The drawings are rough compared to my work today, but it’s fun to revisit those early explorations and my part in a project that left such a lasting mark on games.
Diablo II — Early Concepts & Original Cinematics These sketches date to around 1998, when I was young and just finding my footing on Blizzard Entertainment’s cinematics team. I created dozens of concepts, with my design for Marius, originally named Farnum, selected for production. The cinematic stills show scenes I contributed to as an animator, modeler, or texture artist. The drawings are rough compared to my work today, but it’s fun to revisit those early explorations and my part in a project that left such a lasting mark on games.