Bungie 10 Year Destiny Art Blast

“A world you want to be in”

This was one of the original creative pillars of Destiny, and remains my favorite to this day. A world you want to be in is also one you want to create for. It was an honor and privilege to create this world alongside so many passionate and talented artists. It is humbling to reflect on the vibrant gaming community that shared it with us for the past decade.

– Mike Zak, Art Direction

Ten years of creativity by our talented team of artists and it never ceases to amaze. Exploring the cosmos and everything in between has been such a fun and wild ride with our artists and the gamers. We hope this look back into the visual time capsule recaptures those moments of excitement for you. Eyes up, guardian!

– Shiek Wang, Art Direction

At Bungie, we’ve been lucky to witness what happens when a group of talented people combine their passions to build amazing experiences together for our community. Players will sometimes tell us about adventures they had, or a particular memory from our game which had a profound impact on them. Being able to create these for our players and share these experiences with them is probably the best part of our jobs.

What a great thing to celebrate this journey together and reflect on the paths we forged.

– Rob Adams, Art Direction

Concept Artists

Root of Nightmares raid space vista shot, presented to the player after turning the first corner. Was an absolute pleasure working with so many incredibly skilled individuals and teams in order to bring this experience to life.
Jacob Gonzalez – Concept Artist – Bungie

I chose this image to showcase because of all the early concept work that I did on The Final Shape, I felt that this concept was the one that had the biggest impact on what the world was going to look like in game. There are moments when playing the expansion where you can almost see the concept directly translated into the world, and as a concept artist having something like that happen is always special.
William Kalkanis-Ellis – Staff Concept Artist – Bungie

This concept piece delves into the design of a Hive bridge structure, created when Hive environment art was still emerging. The objective was to experiment with various architectural structures that fit within the Hive aesthetic palette and offer the Environment Art team innovative ideas to align with level and gameplay design intents. Bungie’s stellar reputation for exceptional artwork inspired me to attempt to make even my preliminary sketches stand out as accomplished pieces of art, whenever possible. With that goal in mind, I aimed to ensure my initial sketches exuded a traditional feel, meticulously emulating the look of conventional tools, though created entirely digitally. Of all the art I contributed to the Destiny Universe, I believe this piece best exemplifies my goals in that it had a significant impact on the Hive palette while reinforcing the company’s heritage of quality presentation.
Darren Bacon – Senior Concept Artist

These designs hold a lot of personal meaning as they were some of the very first works of mine to go live in game. After dreaming of working at Bungie for many years, it was a truly unforgettable moment. Now, nearly ten years later, I still feel the same excitement any time I see people interact with something I was fortunate enough to contribute to.
Dima Goryainov – Senior Concept Art Lead – Marathon – Bungie

This piece came from a time of blue-sky exploration, where we concept artists were playing with what Destiny could become. It probably popped out thanks to some fun with Photoshop’s scatter brushes—happy accidents! Later, during Destiny 2, I explored pyramid ship designs, leaning into fractal nanotech and triangles. Before moving on, I explored a more trapezoidal language, mixing in organic elements. The amazing D2 artists brought it all to life—great work everyone!
Dorje Bellbrook – Principal Concept Artist – Bungie

Environment design for Destiny 2: Curse of Osiris, specifically Mercury Past, inspired by Dorje Bellbrook’s landscape design. Art Direction by Shiek Wang.
Fan Gao – Concept Artist

In this painting I tried to capture a mood of lively celebration. I worked hard on it, and it seems to have resonated with players over the years.
Jaime Jones – Concept Artist

These early explorations for Hunter capes are a good example of starting to realize the potential of fashion in the Destiny U.
Joe Cross – Franchise Art Director – Marathon – Bungie

Prototype design has always fascinated me in terms of the raw concept of design. The look of unpolished is a pleasure to see especially if people know the end product. I had the great honor of working on this Sparrow for Destiny 2
Muh Dipo – Concept Artist

The artistic work created for the Destiny brand has always been a huge inspiration for me. Therefore, when I was asked to contribute to the Grimoire Anthology, I was ecstatic but also a little fearful. The quality of art produced by the studio and others is so high that I knew I needed to produce my very best work.
Richard Anderson – Illustrator

Capturing a serene world where the life once touched. It’s a moment we introduce the greatness of the Traveler and how it brought each unique life forms in each different planet.
Sung Choi – Senior Concept Artist

One of my personal favorites to have worked on! Being the first of a new combatant faction representing the Darkness and the Pyramid ships teased since Destiny 1 with tons of narrative and lore implications, it felt hugely significant and impactful to be able to help define the visuals and thematic elements for our first Disciple as well as to lay the groundwork for future Disciples like Nezarec, Calus, and the Dread!
Tobias Kwan – Senior Concept Art Lead – Marathon – Bungie

Character Artists

This was a super fun set inspired by 80s, gundam, and mecha. I chose this piece because I think it turned out really sleek, and I believe it represents all I’d learned during my 4 years at Bungie. I got to get really into the smaller, granular details and it resulted in a clean and enjoyable piece to make. It’s been a joy watching Bungie’s quality bar increase over the years and I feel this piece met the new bar.
Cherylynn Lima – Character Artist – Bungie

There were so many pieces it was hard to pick one to share. This is the Lightfall Titan Thunderhead set. It was a very fun piece to make, with some novel challenges as well. It was an honor to see it front and center in marketing material for such a big release! I put as many bullets onto this thing as the polygon budget would allow.
Lexington Dath – Character Artist – Bungie

By far my most favorite exotic I’ve worked on. I had to delicately balance the details to keep the foliage as lush as it could possibly be, and I am insanely proud of the result. This also had a lot of collaboration between design, VFX and QA to make sure the flowers convey subclass information and is informative for all aspects of gameplay.
Alexandra Jackson – Senior Character Artist – Bungie

The Witness is by far the largest and most complex character I have ever contributed to. And what an honor it was to have the opportunity to help bring to life one of the biggest baddies Destiny has ever seen. Seeing players fight the Witness in Salvation’s Edge and Excision, bringing a close to the Light and Darkness Saga has to be among the highest highs of my career.
Dewey Bonczyk – Character Artist – Bungie

Palette Artists

I’ve enjoyed helping to create the natural side of many environments in the Destiny universe, but the original Tower Tree is closest to the hearts of many guardians, including myself as the artist.
Steve Klipowicz – Staff Palette Artist – Bungie

Kevin Whitmeyer – Staff Palette Artist – Marathon – Bungie

World Artists

The Landing is an environment worth exploring due to its lushness and captivating nature. I meticulously crafted every detail of this landscape as a Senior World Artist. I am deeply grateful to the talented designers, artists, and musicians, whose remarkable skills brought this collaborative vision to life.
Julio Juarez – Senior World Artist – Bungie

I had the pleasure of being the World Art Owner for The Lost City in Destiny 2: The Final Shape. This project was an incredible experience, and I was fortunate to work with many talented individuals to bring this vision to life. I guided the visual and experiential development from ideas and graybox models to a fully playable environment, collaborating with the Narrative and Activity Design counterpart, Daniel Grafstrom. Special thanks to everyone who contributed to making this expansion a huge success!
Omar Mazin – World Artist – Bungie

Retribution was the first PvP map I worked on as the map owner. It began life in the distant past as a Cabal Space Elevator in the clouds of Jupiter (to come out around the time of Taken King) but morphed during D2 preproduction into its current theme. Looking back on it now, the huge underside of the massive Cabal ship with an animated skybox and flak explosions going off around the playspace is awfully epic for a single pvp map but I couldn’t be happier with the amount of action, animation and solid vibes we managed to achieve.
Alex May – Staff World Artist – Marathon – Bungie

The Leviathan embodied exploration, aspiration, mystery, and gluttony. The elaborate, gold clad staircase and multiple secret entrances – keystoned by a front door passing under the open maw of an enormous statue of Calus’ head – immediately established the tone of extravagance and interconnectivity within. Between multiple Raids and a uniquely twisted Season, its labyrinthian halls played host to numerous unforgettable moments in Destiny history. Working with the insanely talented team that brought the Leviathan to our players is among the most humbling and proudest achievements in my career.
Andrew Hopps – Creative Lead – Bungie

I joined Bungie’s Raid and Dungeon Team after spending thousands of hours falling in love with the game. All great stories have their climatic moments, and the monolith of a raid that became Salvation’s Edge was just that. This raid easily had the highest stakes and expectations of players, including myself as a fan. For those who have experienced it, the Verity Encounter is one of the most difficult, influential, and unique raid encounters ever made. To me, that’s what Destiny Raids are. The peak of gaming. The pinnacle of puzzle solving, teamwork, build-crafting, storytelling, and art.
Christian Chojnacki – Senior World Artist – Bungie

The Final Shape strike, Liminality, was my first major contribution to Destiny – my favorite franchise of the last decade. It was an absolute blast working to visually realize the many stories and themes throughout the experience while helping to create such a fun and enjoyable activity. The image I chose is the culmination of so many of those little stories and lore bits I contributed to and a space I collaborated with activity design endlessly on to make it an incredibly memorable encounter.
Craig Mesaros – Staff World Artist – Bungie

The Almighty was pretty impactful for me as an artist. It was one of the first times that I was given free roam to own a high profile mission line in collaboration with an awesome designer (Daniel Grafstrom). I was pushed to deliver on an over the top explosive journey, and I felt that we all delivered on it. Overall it was one of my favorite things that I’ve ever worked on, and everyone’s contributions just clicked. (Mick Jundt, Mark Goldsworthy, Eric Cassels, Ryan Kamins, Andy Xiao, Jeremy Baldwin, Andy Kreutzer)
Ed Brennan – Staff World Artist – Marathon – Bungie

Having the opportunity to help build the Shattered Throne was a special highlight for me as an artist in my career at Bungie! I still remember the first time Brendan Thorne, the lead designer of the experience, was approaching people about this new idea he had to introduce “dungeons” as an activity to Destiny 2. I was so excited to flesh out this unique vision and was given a level of creative control over the visuals and layout that I had not yet experienced at the time. This was an incredibly daunting challenge to me but our excitement going into this project and our shared love for difficult games with puzzling spaces and mechanics really synergized and ended up being one of my most fondly looked back memories working on the franchise.
Eve Astra – Staff World Artist – Marathon – Bungie

Savathun’s Hive have stolen the Light. We must invade her Throneworld and take it back.” That was the pitch. Throneworld was such an exciting idea, and the creativity and freshness the team was able to produce still astounds me. Seeing the bell atop Savathun’s palace, fighting to the summit, and being greeted by silence, except for the ominous tolling overhead; out of so many iconic moments, this one is my favorite for how simple but impactful it is. It took a whole team of talented and passionate developers to make this release so special. I’m proud of and grateful to everyone involved.
Marc Thompson – Staff World Artist – Bungie

Working on Warlord’s Ruin felt like a love letter to the fantasy aspects of Destiny. From the start it seemed to strike a chord with the RAD team, inspiring so many talented people to cook up something special. I was responsible for spearheading environment art for the dungeon. From building the mountain castle, and sending players to jail, to the surprise blight traversal. I’m proud of the RAD team and think we made a memorable experience for players.
Ryan Baker – Senior World Artist – Bungie

I spent some time modeling the mountain itself and tweaking it’s shaders. I also ended up making a climbing puzzle that players would soon find and climb half way up the mountain. I believe there was a collectible up there, and then they could jump off to the social space below. The art of the easter egg wouldn’t come to fruition until released into the wild, when you could be in the social space and see and hear a player every once in a while comically fall to their death.
Tyson Allen – Staff World Artist – Bungie

Vista Artists

Weston Jones – Vista Artist – Bungie

This was a really fun piece to create. Wondering what lead to the abandoned buried city and combining that with the austere frozen world of Europa really connected for me. It is a place I want to spend time in and explore. It was especially fulfilling to then finally realize the concept in the Beyond Light vistas. This has made and continues to make Destiny so compelling to work on in how the relatable is mashed with the alien.
Mark Goldsworthy – Vista Lead – Bungie

Pyramid ship interior skybox for Vow of the Disciple, one of my all-time favorite backgrounds.
Eric Cassels – Staff Vista Artist – Bungie

Lighting Artists

The Moon will always hold a special place in my heart. After shipping Forsaken in 2018, I relit a few areas from Destiny 1’s Moon destination as a prototype. My goal was to prove that a fresh coat of paint, or in this case Lighting, could bring the location up to current day standards. As images of these re-lights began to circulate around the studio, excitement grew about the potential of bringing the Moon back in a future release. This work eventually evolved into the Shadowkeep release. I’ve carried this with me over the years as a personal win and evidence of the power of Lighting in games.
Mike Poe – Senior Lighting Lead – Bungie

Getting to collaborate with the talented Dungeon and Raids team on Duality was a privilege – taking an existing palette set like the Leviathan and running with the dream logic of the space was a ton of fun as we thought about how to represent the character of Calus in an untraditional space. It was a highlight of my time at Bungie, where the skill, enthusiasm, and ingenuity of my teammates I worked with really fueled my excitement to help create something unique and memorable for this season!
Adam Alexander – Senior Lighting Artist – Bungie

I’m proud of a lot of the work I shipped with The Final Shape but this room feels notable in that it’s where a lot of the early ideas for how we’d approach shape language with lighting really came together for me. From here, a lot of the ideas for the rest of the strike began to click into place. I also do have a personal connection to caves with my background in spelunking when I was younger and getting to work in some caverns for this release was a real highlight.
Danny O’Hailey – Senior Lighting Artist – Bungie

I loved lighting the aquarium HELM wing in Season of the Deep. 🎣 This HELM wing was a particularly complex collaborative effort between lighting, world art, design, VFX, and NPCs. (Environment art by Todd Juno.) Fans positive reactions to the aquarium truly made my day. I was greatly inspired by the aquariums in Mass Effect 2 and Animal Crossing. It’s an honor to have added another aquarium filled with collectibles to video game history. 🐠
Heather Parsons – Lighting Artist – Bungie

I really love this piece and composition of the frame. Pulling the player forward and down into a space that is reaching up towards the player. As a final secret activity line for players I was excited to help establish the visuals for the space, and make it a memorable moment for the expansion and Destiny 2.
Justin Mayle – Senior Lighting Artist – Bungie

I chose this image from the Macrocosm environment in the Root of Nightmares raid. RoN was truly a visually beautiful raid. Raids and Dungeons have been both challenging and exciting to work on as a lighting artist. It’s always exciting to see what new content and theme the team have come up with. Every time I’m impressed by their ideas and new visuals. I’ve gotten the chance to work with many amazing artists, designers, and other collaborators along the way. I always look forward to watching the World First Race for each raid release.
Lani Ming – Lighting Artist – Bungie

In Shadowkeep we introduced the long-teased Pyramids, and I was tasked with lighting its’ cryptic halls. We had a very truncated timeline to explore the art style of this brand new species and we knew it needed to make an impact. There was no prior art for the space, so I collaborated closely with super-talented world artist Marc Thompson in finding the environment’s voice. I’m incredibly proud of the stamp we were able to place on the beginning of the climax to the Light and Dark saga.
Madison Parker – Lookdev Lead – Marathon – Bungie

“How’s your sister?” – Cayde-6
Ryan Kamins – Lighting Lead – Marathon – Bungie

This gorgeous environment created by the Raid team, gave me a chance to do something uniquely interesting with the lighting. I imagined that the room would have been brightly lit from the center of the ceiling until the Taken Blight absorbed most of the light, and then diffracted what remained into a small portion of the visible light spectrum. It sticks out in my memory because it was bonkers, and fun to do!
Thad Steffen – Senior Lighting Artist – Bungie

I had the honor of lighting part of the Cayde-6 and player reunion cinematic for D2’s The Final Shape expansion. Being the first shipped cinematic I worked on at Bungie as well as my first annual expansion, I never expected to get the chance to light the legendary Cayde. I found this shot of his familiar frame against the distinct landscape of the Pale Heart destination impactful and it could only happen through the combined effort of many different people and disciplines.
Tho Tran – Associate Lighting Artist – Bungie

Hard Surface Artists

Probably my personal favorite weapon I made for Destiny 2. I felt I had a lot of creative input to make the idea more of my own on this one, as well as having more affinity for conventional/historical weapons.
Elliot Davis – Hard Surface Artist – Bungie

The Theoretical Endothermics trace rifle was one of the first ornaments I had the pleasure of creating. For me this encapsulates an artistic journey from my early days here at Bungie all the way up until now. Having the opportunity to be a part of such an incredible art team as ours is nothing short of a dream come true.
Chase Markham – Hard Surface Artist – Bungie

I chose Buried Bloodline because not only was it my first exotic weapon I had the privilege of working on, it also remains one of the more novel-looking weapons in Destiny. It has a very understated, ancient, almost medieval look to it that I really love.
Max Osta – Hard Surface Artist – Bungie

I had an opportunity to work on Winged Wolf skimmer, which was a new vehicle type introduced in Destiny 2 during Guardian Games 2024. Since Winged Wolf skimmer was the first skimmer we had developed, not only as an artist but also as a game developer, it was a memorable experience. Artistic choices I had to make and personal input I gave on this skimmer, I cherish the experience, and I am proud of the result. And I will never forget our players’ first reaction when we announced the skimmer. Thank you.
Ryan Choi – Staff Hard Surface Artist – Bungie

Animators

I had the honor of working with Design and VFX to create a Last Stand performance for Crota as part of the Crota’s End Raid Reprise. Originally a callback to Crota’s iconic kneeling pose, we pivoted towards an animation demonstrating his mastery of the blade. After consulting with animators who worked on the original Crota’s End and Kingsfall raids, I believe the shipped content tells Crota’s story as the son of Oryx and provides a memorable experience for both returning and first-time raiders.
Brian Wang – Animator – Bungie

This piece is the Prismactic acquisition moment. I chose this action because it’s one of the most visceral and powerful moments of our player gaining an ability that we have ever attempted. It was an intense collaboration between every team involved in our sandbox development, and is something we are incredibly proud of. Animation by Doug Magruder with FX by Jay Bakke and Camera by Sam Dunn.
Doug Magruder – Animation Lead – Bungie

While I was working in the NPC space for Lightfall, I had the opportunity to help out on some finisher content. Strand was coming out that year and already had some amazing visual language set by the team, so I wanted to make sure I delivered on that fantasy. Thread the Needle is personally special to me because it was my first player sandbox animation, which eventually led to my decision to join the team. VFX by Ben Platnick
Gretchen Grasshoff – Animation Lead – Bungie

I chose this performance because it helps stage all other emotes while putting yourself into the fun!
Jacob Hinds – Staff Animator – Bungie

Forsaken was a special moment in Destiny – Cayde’s death became the catalyst for a memorable player journey, but also our first opportunity to tell an evocative, meaningful story inside the game. And for me, this release meant supporting our cinematics team as we delivered visual storytelling that set a high mark for the franchise. Nearly every cinematic artist contributed to Cayde’s final moments, along with friends in character art, lighting, and audio. Cayde’s last words remind me that my work is made better by collaborating with others – and that we’re only as good as the way we treat one another. In the end, all we have are the people we love.
Jim Levasseur – Incubation Art Lead – Bungie

Primary Animator for Hive Wizard – 2013. I chose the Hive Wizard out of the past 14 years because combining animation layering, posing and runtime information with throttle, velocity, and acceleration inputs changed the way I think how to create a cohesive character. This led directly to more complete and responsive characters, player abilities and vehicles like the Hive Wizard, Cabal Warbeast, Guardian Movement Modes and Abilities, the Player’s Sparrow, Skimmer, Cabal Interceptor and Fallen Pike.
Matt Kelly – Principal Technical Animator – Bungie

Bosses & Combatant’s Animation Lead-2023 I’m excited to share this early exploration of the Witness Raid boss in The Final Shape. Early on in developing the Witness Boss, a big challenge was “how will this large and powerful boss interact with players”? We’d been exploring the Arms coming through a portals, but this was the first exploration transforming the Arm into something more abstract. Using several versions of our Arm rig I tried to imagine this kaleidoscope and fractal inspired transformation. This piece really resonated with the team and it wasn’t long before we hard a 6 arm rig to make this real in game; and its really neat seeing how many of these ideas made it to the final product.
Nathan Ross – Animation Lead – Bungie

My shots from the Season of Dawn campaign in Destiny 2. This being one of the few cinematics we did with motion blur in post, it was a lot of fun.
Nick Whitmire – Cinematics Animation Lead – Bungie

VFX Artists

The Crux of Darkness is a large, inverted pyramid object which mysteriously appears on Europa. To add to the mystery of this hulking, static object, I wanted to add a unique res-in and res-out treatment. After using a standard dissolve and some GPU particles, I decided to add a random little shimmer of particles along the sides to add more interest and mystery. Once I saw how similar the Stasis locks were, I knew those had to have the same res-out treatment as well. As a recognizable shape in the skies over Europa, I feel the crux appearing and disappearing is an iconic part of the Destiny lore.
Eric Greenlief – VFX Discipline Lead – Bungie

A confluence of Light and Darkness mixing together into something new – a well of Prismatic energy. The main challenge was mixing three very distinct visual languages and making sure they all belong together and feel balanced. The well and the rest of the subclass acquisition performance was a huge collaborative effort involving VFX, world art, lighting, UI artists, designers and more, overall taking us more than a month to get just right.
Artem Sorokin – Senior VFX Artist – Bungie

Most of my time working on Destiny has been in the player abilities area as a Visual Effects Artist. This compilation focuses on the pivotal moments when players regain their powers in Destiny 2. Creating this cinematic was an incredible opportunity to reimagine gameplay visual effects with greater detail and unique performances. Collaborating with team members to bring these powerful moments to life has always been a rewarding experience.
Dave Samuel – Art Director – Bungie

This was the first big raid asset I ever worked on and I MAYYYY have put more time into it than I should have. I learned so much while making this and it really set the foundations for all the work I’ve done for raids and dungeons. Plus, all that extra time just made it look so cool!
Dillon Herick – Senior VFX Artist – Bungie

Riven is an amazing boss full of memories for me from both a VFX and engineering perspective. I think back to the team and how we gave it our all to make something so over the top and special. And through that process, I made some lasting friends as well.
Glenn Gamble – Staff VFX Artist – Bungie

This is the prismatic acquisition performance. The goal of this was to channel the raw power of both light and dark energy, harnessing it within the player to form a new type of energy called Prism. This utilizes particle effects, distortion and lighting techniques. It required a very close collaboration between VFX, animation and camera design. Credits: VFX – Jay Bakke, Animation – Doug Magruder, Camera Design – Samuel Dunn
Jay Bakke – Staff VFX Artist – Bungie

I chose for my featured piece Destiny’s first exotic weapon, Thunderlord. When approaching the treatment for these hero-class assets, we didn’t exactly know how we’d portray their benefit or difference over other weapons, only that they had to be “extra”, and that each would receive special treatment– whether that be through design, hard surface, animation, audio, visual effects, or some combination. Ten years and 120+ exotic weapons later, Thunderlord represents the cornerstone in an ever-evolving arsenal filled with magic, science fiction, and firepower.
Mark Flieg – VFX Art Lead, Rewards – Bungie

Reflecting on years of working on Destiny and Destiny2, it is the shield pop and health states that stick in my mind. The video is from exploratory work on the shield pop for D2. I start to write out all the details and realize I need to summarize: At the time this video was taken we did not yet have technology in place to draw particle vfx “attached” to the 1st person view. The exploration in the video was a workaround. In the video the guardian walks backward as the 3rd person vfx performance is “dropped” into view. I remember trying this and being surprised. Thinking: “this looks cool!” Immediately wanting to share it and find a way to make it real.
Matt Dudley – VFX Art Lead – Bungie

Vault of Glass has always held a special place in my career. Prior to Bungie I didn’t have experience with creating VFX. I took an interest to the work happening around me and started asking questions about how some VFX were being made. The VFX artists were kind enough to answer questions. This all eventually led to being trusted with creating shaders of my own. One of those shaders being the backdrop to Vault of Glass. This was a turning point for me. During the work on this VFX artists started asking me how it was being made and it felt great to be able to give back to all of those who helped me.
Mike Stavrides – VFX Lead – Marathon – Bungie

“Right from the start, Song of Flame was meant to be a nod to the old Sunsinger’s Radiance super, while still being something fresh and exciting, so we traded the wings for a solar eclipse style halo effect to create its new signature look. The warlock is no stranger to summoning elemental allies, so we leaned into that idea of being this kind of fiery falconer, adding burning wings to the new grenade that would swoop about the battlefield, divebombing your foes.”
Zach Jaquays – Senior VFX Artist – Bungie

On Curse of Osiris, one of my tasks was making the portal into the Infinite Forest. I created some cool motion via vertex animation (with the help of Glenn Gamble) that felt both organic and mathematical at the same time. It ended up becoming the key art for the expansion release and we even made a t-shirt with the portal design on it that I wore proudly! I’d never made anything that was directly turned into posters and t-shirt designs before!
Sam Arguez – VFX Art Lead, Activities

Marketing Artists

In 2019, when Bungie became a self-publisher, we seized the opportunity to bring our key art creation back in-house. Over the years, I’ve had the privilege of both art directing and crafting key art for Destiny 2. One of my favorite projects is the key art for “The Witch Queen” expansion. For this piece, I utilized 3D source assets, Quixel, KeyShot, and Photoshop to bring the vision to life. The artwork tells the story of three Guardians immersed in the swampy terrain of the Throne World, surrounded by the ominous presence of Savathûn and her Hive Guardians. Take a look at the behind-the-scenes breakdown to see how it all came together.
Joseph Biwald – Marketing Art Director – Bungie

UI Artists

Working on UI/UX makes it difficult to encompass your efforts into single images but one of the areas I felt where my impact was left on the IP long term was the style of 2D iconography which I helped define when I joined the UI team way back in 2012. The subclass ability icons had to play on a mix of simplicity for readability at small sizes but also to bring in the minimalist graphic design principles set by art direction. It’s cool to still see these in use 10 years later and have current visuals designers riff off of them and expand on the language I tried to bake into each element/class.
Ryan Klaverweide – Lead Visual Designer – Bungie