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Creating content for the next generation of gaming machines can be a gruelling process for publishers.

Assembling the team of artists is a tough job in itself, but occupying their time in between projects can be downright impossible.

Enter Liquid Development. They allow publishers to do what they do best: create great games, instead of managing a roomfull of artists. Liquid Development has the experience to step in at any point in the process and produce art that is top-notch and true to the designer’s vision.

Lead production artist, Jeremy Bolz, takes us through life at Liquid Development, the skills needed to find success in the games industry, and some of the key moments of his career that led to creating art for world-famous titles like Doom Eternal, Fuserand Spellbreak.

Tell us a bit about your career.

I graduated with honors from The Art Institute of Portland, with a Bachelor’s of Fine Art in Game Art and Design. After school, I got an art internship at a game development company in Oregon called Buzz Monkey Software. This internship turned into a full-time 3D staff artist position. While there, I worked on titles such as Army Of Two:The 40th Day, Tony Hawk:Shred, and an original game called Rinth Island. We were purchased by Zynga in 2012. In order to help out a colleague, I transitioned into a UI/UX position which became my main job until 2015. During this period, I continued to refine and practise my 3D skills in my personal time. I had a connection at Liquid Development and soon moved back up to Portland to take on a production artist position focusing on characters. Liquid has given me incredible opportunities from creating art for titles like Doom Eternal, Fuserand Spellbreak, to collaborating with co-development teams within our parent company, Keywords Studios. They have 70+ facilities worldwide, all with something unique to ensure people and projects operate as effectively as possible – relied upon by many of the world’s leading video game companies.