A veteran marketing and capture artist for videogames, with over 15 years of game industry experience.
ABOUT ME
I’m Duncan Harris, a marketing/capture artist for the videogame industry. Publishers and developers hire me to deliver assets worthy of their games, however complex their vision and technology, whatever the deadlines. Years of working for dozens of studios have taught me not just the pipelines and workflows for many modern game engines, but also how to adapt to every new project. As a former pioneer of ‘videogame photography’ on PC, I can also reverse-engineer builds to generate capture tools if required. No two games are the same, and I relish every challenge.
As a 3D artist versed in all stages of asset creation, from concept to modelling and texturing, I will often use those skills to bring placeholder assets to production quality, or create game- and render-ready assets from scratch.
My pricing is flexible and sympathetic to the realities of game-making, and I never charge for delays (client-side or otherwise), tool manufacture or routine logistics.
For work enquiries:
As a 3D artist versed in all stages of asset creation, from concept to modelling and texturing, I will often use those skills to bring placeholder assets to production quality, or create game- and render-ready assets from scratch.
My pricing is flexible and sympathetic to the realities of game-making, and I never charge for delays (client-side or otherwise), tool manufacture or routine logistics.
For work enquiries:
INDIANA JONES AND THE GREAT CIRCLE (MACHINEGAMES)
HOMEWORLD 3 (BLACKBIRD INTERACTIVE)
NOBODY WANTS TO DIE (CRITICAL HIT GAMES)
ALAN WAKE 2 (REMEDY ENTERTAINMENT)
REDFALL (ARKANE STUDIOS AUSTIN)
SURGEON SIMULATOR 2 (BOSSA GAMES)
WOLFENSTEIN: THE NEW COLOSSUS (MACHINEGAMES)
OTHER PROJECTS
CLIENTS
BOOKS
I am also a published author. In conjunction with designer Darren Wall and publisher Read Only Memory, I have produced two videogame history books, WipEout: Futurism and The Bitmap Brothers: Universe. Each seeks to provide an exhaustive account through tens of thousands of words of editorial, dozens of exclusive interviews, sophisticated design, previously unseen development material, and bespoke images. Design on WipEout: Futurism was led by Designers Republic alum Michael C. Place, one of the key figures in producing the first three iconic games. For The Bitmap Brothers: Universe, we commissioned renowned technology developer Timothy Lottes to create bespoke CRT display emulation specifically for print, to ensure accurate reproduction of the games as they were meant to be seen.
In 2012 I was commissioned by CCP to produce opening images for several chapters of its official EVE Online art book, EVE Universe. The idea was to use the company’s ‘Jessica’ tools to create entirely realtime art using the game’s own assets and lighting, but with a creative free hand. Attempting to evoke the works of sci-fi masters such as John Harris proved an enormous challenge, and required dozens of layers of custom particles and prefabs to make the ships of EVE as epic as their lore demands.
In 2012 I was commissioned by CCP to produce opening images for several chapters of its official EVE Online art book, EVE Universe. The idea was to use the company’s ‘Jessica’ tools to create entirely realtime art using the game’s own assets and lighting, but with a creative free hand. Attempting to evoke the works of sci-fi masters such as John Harris proved an enormous challenge, and required dozens of layers of custom particles and prefabs to make the ships of EVE as epic as their lore demands.
KIND WORDS
“In his exceptional screen capture work, Harris finds and superbly accentuates landscapes, fragments, moods and ephemeral moments. He makes the viewer see the source game through fresh eyes, and reappraise what they thought they understood about the game. The pictures also exist as incredibly striking images in their own right”
– Alex Garland, author and filmmaker (Annihilation, Ex Machina, Dredd, Sunshine, 28 Days Later…)“I’ve worked with Duncan on a number of video game titles now, across a variety of genres, and simply cannot imagine working with anyone else when it comes to screenshots. I’m frankly astonished the entire industry isn’t already using him, as there really is no one better.”– Ryan Hill, senior marketing manager at CI Games (Sniper: Ghost Warrior)“I’ve long been an admirer of Duncan’s work. He’s managed to breathe new life into the art of game photography, capturing some of the most beautifully crafted imagery within the worlds of videogames. His work is an inspiration to fellow artists and developers like myself, and has set a new benchmark for the rest of us to follow.”
– Robert Briscoe, environment artist (Half-Life: Alyx, Mirror’s Edge, Dear Esther)“Duncan showed us a sublimely beautiful version of Dunwall, our corrupt and plague-ridden city. With a gifted eye and a mastery of his craft, he elevated our efforts to connect players with the world of Dishonored.”
– Harvey Smith, game designer (Dishonored, Deus Ex, System Shock)“Simply amazing to work with. Excellent composition skills with a great eye for details. Such a combination of skill and a nice personality to match is a rare find. If I ever get the chance to work with him again I’d do it in a heartbeat.”
– Sami Vanhatalo, lead technical artist at Remedy Entertainment (Alan Wake, Max Payne)