Concept Artist, Design Alchemist, Storyteller.
I help AA, new studios, and underdogs win in the market through storytelling that touches people emotionally.
Are you in a production where nothing clicks and everything looks sort of generic?
Email me here, or scroll down to see the work in action.
Past Clients:
Make Generic Characters Interesting without Endless Revisions
The work that follows below has been creative directed, art directed and concept designed by Miguel Nogueira.
Miguel Nogueira was the art and creative director as well as concept artist behind this project. Responsible for the way it looks and what ideas it shows. Utilizing tools such as Zbrush, Photoshop, Marvelous Designer, and Keyshot. He also used mind maps; a strategic tool, which is like drawing ideas in bubbles—to help him understand the characters' feelings and stories. By not looking at any existing concept art or copying other games or movies, this helped him draw the characters in a way that showed everything about them as original individuals, without constant rework or doubts on whether the direction was the right one.
For this project, Miguel Nogueira was in charge of all the art and idea development.
Miguel used image boards with different inspirations to plan how everything should look. He worked to find out why people like Old West games or movies – what makes them interested in those stories? Finding that out helped him make the theme more appealing.
By thinking about the main feelings, like the freedom of roaming, wanderlust, and being part of an outlaw society, he then showed these feelings through images, colors, patterns, and symbols. He layered these elements into the character designs. This helped make the whole experience of the game feel exciting, not just look good.
This approach sells the experience of something, rather than just its looks. This can help with marketing, strategy, and social media messaging, going beyond just the concept art itself.
When consulting with the founder of the game "Many Notes", it felt like being a story detective.
The client knew how he wanted the players to feel when they played the game, but it was often difficult for them to put it into words. The job here was to help them show their ideas using pictures, shapes, and colors.
Miguel would use tools such as drawing maps with words and images, to help explore all of their ideas and what they meant when they claimed to want this or that trait to show on the look of a character. It was like a game where we'd link words to feelings and feelings to pictures. It helped us figure out the best way to make the game's story clear, by just looking at the characters, and even helped us cut the budget costs by sharing more stories with just one character.
Get Environment Concept Art and
Level Design in One Without Double the Work
The environment and level designs that follow were done by Miguel Nogueira, some of which show the work done for Amnesia Rebirth at Frictional Games. There, I made about 90% of the visual identity as the main concept artist for most of the production, including levels, layouts, and technical paintovers.
Environment design often doesn’t just look pretty, it has to be usable. Inspired by the book Atomic Habits by James Clear, I began to design my environments; for personal projects as well as clients—by thinking not only about the space but also how people navigate that space. Should a water source be near this village for the town to survive? Or should a water dispenser be placed at the center of an office to streamline productivity while adding to social activity?
Beyond the social questions, which can sometimes be just semantics, there’s also level design, which is the most important aspect. By laying down the foundation of a playable and replayable map, we can then focus on the visuals later. For instance, when designing levels for Amnesia: Rebirth and Frictional Games, I discovered that by using negative space between doors, gateways, and tunnels, I could draw from the player’s sense of exploration and control how they’d navigate and explore the levels; adding to the game’s overall replayability.
I was responsible for designing about 3/10 of the level design of this game, as well as 80% of the visuals, spanning from props, mood, and interactable items, to a few characters.
Prop Designs 4 Times Faster
Without Breaking the Bank Using 3D Design
Making concept art in 3D can be slower, especially compared to AI concept art. But you can work on the concept and the model at the same time.
Most props for games and film need correct scale and material definition. They are, most of the time, not mere set dressing, but also interactable objects, which need to look unique enough to avoid looking like repeated assets, but also be designed in such a way that they can be repeated throughout the levels without seeming repetitive. I have solved this by distributing uneven levels of detail, organic edge wear and scratches, and avoiding symmetry as much as possible.
Many of my character concept art pieces include assets that I've rarely showcased individually. With my sci-fi character designs, most of them feature a robotic implant of some sort. Arms like these start from a free base mesh; like a normal human arm;which I then sculpt on top of by re-skinning it as hard-surface and converting all the human joints, fingers, and bending parts into screws, pistons, and ball joints. Essentially, I reimagine the human body as a machine.
Most of my creature designs rely on reference, even when I’m aiming for something completely original or fantastical. Using references helps me channel a specific mood, energy, or vibe into the creature, it’s almost like casting the right actor for a role. It’s kind of a cheat code, one that helps make the creature more believable and avoids the trap of creating an “inside joke” only I would get. In these sci-fi designs, I pulled from insects, my own biases, and natural elements to form the biology of something alien.
Rhythm and form language are essential to make a creature look more alive. By designing a flow inspired by graffiti, ocean waves, bonsai, and other rhythms found in the real world, I use those inspirations to add to the overall silhouette, secondary read, and shapes of these creatures.
One of the best ways to make a keyframe look engaging is to reverse engineer what people would like to watch in cinema or a game. By tapping into what I’d love to play or watch, I can tap into the audience and support the studio and production by delivering something that would sell. These are the subjects of studying cinematography and different kinds of rhythms in visual development to draw out that appeal.
Some of the best work I do is inspired by real life. This one, for instance, was inspired by a road trip. By adding the experiences I live myself, I’m able to expand the library of references for a project. Oftentimes, people tell me my designs look and feel real, and I believe that’s because I believe I have referenced real people and real places and didn’t just look at what’s trendy on pinterest or google images.
Reimagining the future through subcultures, graffiti, and spirituality was the challenge of this personal creative project. By analyzing cinema classics such as Blade Runner, I studied the fashion design to understand how it could be both believable and timeless. I learned that the key to believable science fiction design is to avoid being too outlandish while still staying true to the genre.

Returnal
(Pitch Work, Environment Concept Art, Game Level Design)
Returnal is a 2021 roguelike third-person shooter video game developed by Housemarque and published by Sony Interactive Entertainment for the PlayStation 5 as the first console exclusive to launch with the console.
I had the pleasure of contributing with Environment Concept Art and Pitch Visual Development Concepts.
Contributed with: Freelance Sci-Fi Environment Design, Key pitch materials,cyberpunk concept art for first season of the show.
ARC RAIDERS
(Character Concept Art for Games)
Featured at Game Awards 2021, Arc Raiders is a free-to-play, third-person, PvPvE extraction shooter set in a post-apocalyptic Earth overrun by the mechanized menace known as ARC. . The Concept Artist played a key creative role on shaping entertainment design in this project, as Freelance Consultant.
Game Solutions Delivered: Character Concept Art, Sketches, Consulting for Entertainment Design, as Freelance Concept Artist.
EXODUS
(Character Concept Art, Art Direction)
I had the pleasure of contributing to the captivating world of Exodus by creating immersive props and character concept art. My expertise in 3D modeling and texturing brought Exodus' vision to life, crafting engaging props and bringing characters to life with detailed concept art. Are you looking to elevate your game's visuals with high-quality props, skins, and character concepts? Contact me today to discuss your project!
Contributions: Freelance Creative and Art Director, Concept Art, Design Consultancy.
BATTLEFIELD 2045: SEASON 4
(Cinematic Concept Art for Games)
Battlefield 2042: Eleventh Hour is the fourth season of the Battlefield 2042 game live service. Eleventh Hour is a DLC from this award-winning franchise and launches on February 28, 2023. In Season 4, the Battlefield moves to South Africa with players battling head-to-head in the new map, Flashpoint. As a Freelance Concept Artist, I contributed with key new visuals to consult with several different options for this established entertainment design product series.
Miguel Nogueira was a Contributor of: Keyframe Cinematic Concept Art, Marketing Art, Sketches, Brainstorming, Loading screens.
STAR ATLAS
(Concept Art for Games)
As a freelance concept artist for Star Atlas, I designed character skins for this Science Fiction IP, crafted unique character designs, and provided expert consultation to enhance the visual identity of this innovative space exploration game that blends blockchain technology with AAA-quality graphics.
Solutions delivered: Consulting, Illustration, Artistic Direction, Concept Design, Character Design.
TOM CLANCY: THE DIVISION
(Character Design for Games)
Tom Clancy's The Division is an award-winning action role-playing game set in an open world mid-crisis Manhattan with destructible environments that can be freely explored by the players. The player's mission is to restore order by investigating the source of a virus. A classic franchise in the entertainment industry. As Concept Artist, I contributed with key visual materials to visualize DLC an array content.
Services Delivered: Character Concept Art, Production callouts, Prop Design, Illustration, Entertainment Design.