ADAM AUGUSTYN
Chicago · Art + Creative + UI/UX Director
Game development leader with 20+ years of experience creating player experiences across live-service, console, PC, mobile, and connected products. I specialize in helping teams transform complex systems into intuitive, engaging experiences by combining creative vision, strategy, and hands-on collaboration.
2.5M+
Players reached across shipped titles
150+
Titles shipped as creative lead from concept through ship
90%
Client return rate across two decades at Chewy Software
Problem Statement Header
Why should you choose me to conquer the universe with?
Most art directors need a strong producer beside them to ship. Most art managers need a strong creative above them to follow. The harder search is finding one person who can hold both without dropping either. That list is short. I have been on it for twenty years.
Wargaming USA · UI/UX Director
Team: UX designers, UI artists, animators, and engineers
World of Tanks Modern Armor
Overview
Lead player experience strategy for World of Tanks Modern Armor, partnering with studio leadership to shape product direction and guide cross-functional teams in simplifying complex live-service systems into intuitive player experiences. My work focuses on improving information hierarchy, reducing cognitive load, creating scalable design systems, and modernizing workflows that help both players and development teams succeed.
Game Mode Screen
The challenge: Players had no reliable way to identify which game mode they had entered after leaving this screen, leading to confusion and a fragmented player experience. The existing horizontal navigation also broke down as event offerings changed, creating inconsistent layouts that were difficult for players to learn and expensive for the team to maintain.
The solution: I led a redesign centered on a scalable vertical navigation system that accommodated any number of game modes while aligning with UX standards established across our sister titles. We introduced distinctive iconography, color systems, and animated visual treatments to give every mode an immediately recognizable identity, while partnering with Live Operations to make key screen elements data-driven. The result was a more intuitive player experience, a unified navigation system, and a flexible framework that reduced implementation effort while allowing new events and modes to be deployed with minimal engineering overhead.
Garage
The challenge: The garage had become increasingly complex as new features were added over time. Players lacked clear orientation, frequently entered menus unintentionally, struggled to discover active events, and encountered localization issues that caused interface elements to overlap. The experience was difficult to navigate for players and increasingly difficult for the team to evolve.
The solution: I led a redesign that strengthened game mode identity and established more consistent interaction patterns throughout the garage. Navigation controls were standardized across screens, iconography replaced lengthy labels to improve localization and visual clarity, and hold actions were introduced to reduce accidental inputs. We also added direct access to live events and new visual indicators that surfaced Elite-leveled tanks. To preserve familiarity for our existing player base, these improvements were introduced incrementally rather than through a disruptive redesign. The result was a clearer, more intuitive garage experience that reduced friction for players while creating a more scalable foundation for future updates.
HUD Proposal
The challenge: Years of incremental updates had left the HUD crowded, inconsistent, and difficult to interpret in combat. Critical information competed for attention, core interactions such as ammo selection and base capture lacked clarity, and the interface had become increasingly difficult to evolve as new features were introduced.
The solution: I led a comprehensive HUD redesign focused on improving readability, reducing cognitive load, and creating a more flexible system for future development. We restructured the interface into modular regions that supported player customization, redesigned the ammo selector and reticle to surface critical information more effectively, and improved base capture visibility. Working closely with our Lead UX Designer, I developed interactive Figma prototypes to validate concepts, then partnered with our Senior Artist to create a reticle design tool that enabled rapid iteration and evaluation outside the game engine. The result was a clearer combat interface, faster design workflows, and a scalable foundation for future HUD enhancements.
Note: the "after" shown here is a proposal, not yet live in the game.
Select Clients
150+ titles shipped. Small teams. Fixed budgets.
Art Director + Producer
Team: Design, Art, Animation, VFX
Chewy Software
Overview
I spent nearly two decades as Art Director and Producer at Chewy Software, leading the development of more than 150 shipped titles across console, mobile, and connected-hardware platforms. Partnered directly with clients including Disney, Nickelodeon, Amazon, Wilson, Age of Learning, and Wargaming to transform diverse client product visions into polished player experiences. My work spanned creative direction, art direction, UX, production, and cross-functional leadership, adapting processes and teams to meet the unique goals of every project.
Wideload Games
I led art direction and production for Chewy Software's work with Wideload Games while contributing directly to key visual systems. For Stubbs the Zombie, our team created LOD models for in-game characters and environments. On Hail to the Chimp, I led the creation of the front-end UI and HUD, recreating the look of a professional television broadcast within the technical constraints of the game engine. Rather than relying on pre-rendered assets, I developed custom animated materials and interface elements that captured the intended aesthetic while significantly reducing memory requirements. I also helped create a controller-driven animation system that allowed the game's host character to perform and record dynamic in-game broadcast segments.
Nickelodeon
Served as Art Director and Creative Director for Chewy Software's long-standing partnership with Nickelodeon, helping establish the studio as a trusted creative partner across franchises including Blaze and the Monster Machines, PAW Patrol, SpongeBob SquarePants, Nick Sports, Team Umizoomi, and Dora the Explorer. I partnered directly with Nickelodeon to develop and pitch original game concepts, then led multidisciplinary teams through production while remaining hands-on in key areas including animation, gameplay, world design, and UI/UX.
Disney
Led art and creative direction across multiple Disney titles, partnering directly with Disney creative teams to translate iconic brands into interactive experiences while maintaining the company's exacting quality and brand standards. Projects included Baymax Blast, developed alongside the evolving production of Big Hero 6, and Mickey Mouse Clubhouse, where I worked with the show's original artists to create game-ready assets that faithfully matched the series' visual style.
Age of Learning
Led art direction for multiple Age of Learning initiatives, collaborating with curriculum experts, instructional designers, and developers to transform educational objectives into engaging interactive experiences. The work required balancing instructional outcomes with player motivation, creating experiences that encouraged persistence through difficult learning moments. Projects included My Math Academy and Nano and the Blurts, both of which became standalone applications while also extending the ABCmouse platform.
Wilson
Led art direction and game design for Wilson X Smart Football, a connected experience that transformed real-world throws into interactive gameplay using live sensor data from the football. Partnering closely with Wilson, engineering, and production, I helped design the core game systems while directing art, animation, and UI/UX. The result was an intuitive experience that made advanced sports analytics engaging, accessible, and fun for players of all skill levels.
About
20+ years of experience
I'm Adam, a Chicago-based visual storyteller whose work spans AAA game development and contemporary painting. As a UI/UX and art director, I create player experiences for millions of players; as a painter, I build narrative worlds inspired by mythology, horror, animation, and the everyday wonder of raising three daughters. Whether designing digital experiences or painting imagined ones, I'm driven by a love of storytelling, character, and world-building.
I'm currently UI/UX Director at Wargaming Chicago, where I lead a multidisciplinary team of designers, artists, animators, and engineers on World of Tanks, a AAA live-service title. I work across design, production, engineering, and live operations to create intuitive player experiences while building the systems, processes, and collaborative culture that allow teams to move quickly without sacrificing quality. I'm at my best bringing creative and technical disciplines together to solve complex problems and deliver experiences that feel seamless to players.
Before joining Wargaming, I spent nearly two decades as Art Director and Producer at Chewy Software, helping lead the development of more than 150 shipped titles for clients including Wargaming, Amazon, Disney, Nickelodeon, and Wilson. Over more than twenty years, my career has taken me through animation, visual design, game design, production, and art direction, adapting alongside changing technology and evolving player expectations. Throughout that journey, my focus has remained the same: creating thoughtful experiences while fostering environments where creative people can do their best work.
Independent Projects
Animations · Games · Comics
Independent Projects
Man and Dog
A personal project I've been slowly building: a hand-animated, black-and-white point-and-click adventure. If you'd like to fund the remaining several thousand drawings, feel free to get in touch.
Mouth of Madness
A dental-hygiene-themed arcade game I made with a small crew of friends. Think cavity monsters, germ missiles, and a Ren & Stimpy-inspired look gone slightly unhinged. I helped develop the concept, shaped the character design and overall look and feel, animated the characters, and worked on the ad for the game. Metacritic called it "amazing (and disgusting) to behold." No official numbers on how many teeth and cats were saved, but our pirated download count outnumbered our paid ones by a healthy margin.
How to Survive Everything
A game I built with my brother-in-law while he was still in high school. We put together a demo and brought it to PAX, where we ended up staying at the same hotel as Deerhunter. This definitely won me cool-guy points with my brother-in-law (and even better wife points).
Cursed Superhero Comics
"The downside of super powers, and other strange and bizarre stories." A collection of 10 short comics (1-2 pages each) about superheroes with powers that are either useless, ironic, or actively working against them. Psychic Baby can see the apocalypse coming but can't walk or talk to stop it. Mr. Positive only ever sees the bright side of things — which means he never actually helps. Dark humor, terrible outcomes, worse heroes.
Fine Art
My paintings blend pop surrealism, animation, and contemporary character design into brightly imagined worlds inhabited by strange companions, monsters, and unlikely heroes. Drawing inspiration from horror films, mythology, and the joys and anxieties of everyday life, my work explores wonder, humor, transformation, and resilience through richly detailed, cinematic compositions.
I've presented two solo exhibitions with Vertical Gallery: The Sky Is Falling, a body of work exploring the proliferation of fringe conspiracy theories, and Hero's Journey, a personal celebration of adventure, curiosity, and discovery. Most recently, I presented with Vertical Gallery at Aqua Art Miami.
Today, I exhibit with Arch Enemy Arts, Modern Eden Gallery, Vertical Gallery, Nanny Goat Gallery, Brassworks Gallery, and other galleries across the United States. While my work spans two different mediums, both are rooted in the same pursuit: creating worlds that invite people to look a little longer, wonder a little more, and discover something unexpected.
Solo and Group
Contact
Only you can prevent our inevitable doom… by starting a conversation about your next project!