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Member Since 06 Sep 2011
Online Last Active Today, 02:14 AM

#5176846 Raster art for beginners.(Tools,problems,tutorials)

Posted by BagelHero on 28 August 2014 - 11:52 PM

Well, that guy already knew how to paint, so effectively (given enough time) they could paint in any program. smile.png It doesn't mean Krita is going to make you paint awesome, or even better than in GIMP, or Photoshop, or Painter, etc... Though, I'll say Krita is a much better program for painting than GIMP is out of the box. Since, y'know, it's not an image editor, it focuses more on the "painting" aspect.

I'll also say I prefer MyPaint to Krita on the free-open-source-painting-apps front, but I have a preference for the lightweight.

#5176812 Welcome your new Visual Arts forum moderator

Posted by BagelHero on 28 August 2014 - 08:49 PM

Hey, congrats. :)

#5175662 Raster art for beginners.(Tools,problems,tutorials)

Posted by BagelHero on 23 August 2014 - 11:21 AM

Welp, past 1920 x 1080, a lot of games just kind of scale it. It's stuff I don't know much about, my 2D assets are aimed at mobile + I am just an artist so my tech knowledge is limited.


Reguarding indefinitely tiling textures, I am very sleep deprived right now and that is a very redundant textures. I just mean "Tiling Texture", like these:


#5175612 Raster art for beginners.(Tools,problems,tutorials)

Posted by BagelHero on 23 August 2014 - 04:09 AM

The general solution to the resolution issue is often to just draw your sprites as either really large at a high resolution (The largest they'll be seen on the biggest target device), or indefinitely tiling depending on whether it's a one off sprite, hero character or environment tilesheet.


"Raster art tutorials for gimp" won't get you anywhere. Photoshop tutorials will probably translate fine, fyi, what you'll want to look up is something more akin to "2D game art tutorials", "2D game assets tutorial beginner" or "how to paint in Gimp". The tool doesn't matter so much as the knowledge of how to actually make the art; unless you're stuck on something more specific, like what kind of assets you'll need.

#5175153 Approaching an Artist

Posted by BagelHero on 20 August 2014 - 07:53 PM

Artists are more than willing to work for free if it's a passion project. That, though, implies a tiny team where they'll have a big sway in the final product (if there is one).


But if you try to recruit any artist worth their salt to do an established project they're not particularly invested in "for free", they won't do it. This is because their time is worth money, and if they don't care too much about the final product + they won't hold much sway in the established team, then what's the point if they're not being paid for it?


As an artist who is currently job searching, I don't require anything in particular. I look for people who seem pleasant to work with, seem like they have a strong idea and the work ethic to settle on it and get going (as opposed to letting the feature creep set in, or permanently being stuck in idea limbo). If I'm going to work for free or with promise of a return if the project gets off the ground, I look for all of that + if the project is "my style". Something that won't be too difficult to create for on my free time, and that I would probably already be doing work similar to in my free time. Because I won't be devoting anything but my free time to it, gotta be something I really want to do. And that's entirely subjective.


If you want to recruit an artist and don't have any budget, I would advise that you go hunting for artists who would be invested in the project on idea alone, and that you go into it thinking of it more as a partnership than getting that artist to work for you. So, if you're doing a game and you were thinking of doing super stylised graphics, and your mechanics are based on X, Y or Z, try to find an artist who has always wanted that game to exist, and already draws/paints/models/sculpts in that style. Also, don't try to boss around an artist that you're not paying, and make sure to take their ideas into account. They will probably up and leave, and I wouldn't blame them.


Are you really surprised that people aren't willing to work for free on anything? The reasons why are subjective, but it's a pretty ludicrous idea in any respect to expect anyone in any field to do professional work without being paid.


:) So yeah. I firmly believe that you should just pay artists that you want to work for you, but if you really have no budget, then just make sure your idea is good, you have a plan and you really believe that it'll at least get released (if not also be very good and decently recieved), and you'll find someone who wants to work on it.

#5174229 Lighting/Shading in 2D

Posted by BagelHero on 17 August 2014 - 02:00 AM

+1 to CtrlPaint, also this:

#5173474 What's the industry like?

Posted by BagelHero on 13 August 2014 - 07:48 PM

This forum is really strange to come back to when you've been frequenting game art sites. Entirely different attitude...

I know a handful of ex-architects making a reasonably happy living off being environment artists or level designers. They like their jobs, but the nature of the industry is that it's quite difficult to weather.


A teacher of mine (who left the school last year to go work at 2K Australia) said switching to games was one of the better decisions he'd made, even with the depressing reality of getting cut at the end of big projects and working on so many games that just never come out. See, the reason he'd wanted to be an architect in the first place was that he wanted to make buildings, interesting ones. He didn't realise how much hard work would go into doing things he really didn't care about. Then he discovered environment art, and to him, it was all of the things in Architecture that he wanted to do, but were unviable and not what you ended up spending all your time on. He could cojure up any crazy design he wanted, no matter how improbable, and it would actually be viable for the project. That was about when he jumped ship and took up a mid-level environment role at a reasonably sized studio.


Thats not to say that any of this is applicable to you, but to give you a real world example of this kind of situation working out.
But especially if you have a family, it's important to warn that the industry doesn't always treat it's employ well; the example of getting cut every time a big project is finished and similar are uncomfortably common stories.


Games may actually hold the ideal job for you, but it's best if you make it a passion project. Don't quit your day job, but spend your free time exploring jobs in the industry you could see yourself doing eg, environment artist, technical artist, level designer... If you really enjoy it (the task, not the idea of making games), and you want to persue it (meaning, you love it so much you wouldn't mind slaving away on it day in and day out), THEN consider it. You say you like games? Keep in mind that if you're serious about wanting to make them, you may very well not have that much time to actually play them. And making them isn't playing them. Kinda sucks the fun out of a lot of the ones you do play, too.

Plenty of people make it just fine in the industry, but it's a combination of luck and passion. You may not want to rely on luck when you have a family to think of, but if you like it enough, it's certainly possible to give it a go with all that fire in your belly and the hard work that comes along with it. Just actually figure out if you like it that much, first. Because you may find it holds the same issues as your previous career choices.


Good luck!



#5171814 2d tutorials and learning resources

Posted by BagelHero on 06 August 2014 - 03:16 AM

Well, while this is bumped...

Lots of stuff:






#5171535 Custom skyboxes ?

Posted by BagelHero on 04 August 2014 - 08:07 PM

In these times of "Next-Gen" hysteria, I feel like I gotta tell you; UE4 demo backdrops are actual geo. Drop $20 and download the sample projects to check out how they did it. I know they're geo in many current gen games (selling point in consumer-aimed dev vids). 360/PS3/PC games might have billboards, but it's still usually geo and not paintovers. UDK/UE3 demos still had geo as background detail; simple as heck (often textured cubes or the same rock 2939347849843 times; its why they like distant cities so much) but still geo.


But Skybox is valid, too, as long as it will mesh with your scene well. :)

#5170862 What makes a good 3D modeler?

Posted by BagelHero on 01 August 2014 - 06:26 AM

A good modeller gets the work done, quickly, and to the requirements necessary for the project.


But what skills one needs before approaching modelling... Absolutely zero, actually. Well, unless you count basic logic and problem solving skills, and the ability to navigate 3D space as much as is required to pan a camera around a scene. Heck, you don't need to be able to draw even if your eventual goal is hyper-realistic characters; as long as you have a good eye for shape and measurement. So it kind of depends on the person.
I know a lot of environment artists and prop artists who are modest at 2D freehand drawing, if that. Yuri Alexander, a character artist I greatly admire, just opened a thread on Polycount asking how to approach 2D drawing and painting himself, as he feels he's never really taken the time to learn it... and dang, just look at how far he's come without freehand drawing skills.


That said.


Both 2D art and 3D art are learned skills, and neither moreso than the other. You'll need a good eye for shape and measure in both, arguably this is more difficult to get a handle on in 3D. In 3D you don't have to learn things like perspective, line, form, rendering so much... but learning those is replaced by learning the ins and outs of the technical side of things instead, how to set up lights, get shaders to work, renderng, getting it to run in a game engine, UV mapping, rigging, etc.

You can pick up drawing whenever and get really good at it as long as you stick at it. Same goes for modelling, and you don't need to know 2D already to get good at 3D or vice versa. You just need to stick at it and practice smartly, setting yourself up to cover stuff you don't already know.


They're both difficult, and I firmly believe you'll be better off understanding both in the long run. Just don't try and pick up all the skills of both at the same time. :)

If you want to be a modeller, don't worry if you can't draw. Just model, you can learn composition and color theory and lighting and eventually maybe even pick up a pencil if you're interested, but you can do it on the side in your own time. It probably wont impact your models for a while yet, anyway.


Drawing isn't something you're born good at, it's a skill like anything else. With that in mind, so is 3D. So you can pick up whichever you're more comfortable with and focus on learning that for now; though chances are you'll at least have to get aquainted with the other one at some point. You might pick it up naturally, or you might have to work at it, but it'll pay off.

#5149727 How can i save an image without edges?

Posted by BagelHero on 26 April 2014 - 05:19 PM

Next time when you start an image, if possible, start with no background. Either add a new layer, draw only on that, then delete/hide the old white one with the lock on it for immediate transparency, or when choosing to open a new image, make sure "transparent background" is used.


Much easier than drawing on white and erasing the background every time, of course you may need to do that with complex sprites you've already gotten/done that are all on the same layer/have white backgrounds.

#5148258 recreating N64 map for CRYENGINE

Posted by BagelHero on 19 April 2014 - 06:34 PM

I would honestly literally sculpt the original mesh. Why sculpt over it with a separate plane, when you could just... add the additional geometry straight onto the original, using it as a base?
I only know where to start on this in Zbrush and don't know if Mudbox has a similar function, but I'd use dynamesh to add enough geometry to sculpt on and even out the existing geometry, then just start sculpting in the terrain.

Edit: Though I'd probably duplicate it first, and hide the double. Just so I have something to reference to make sure I'm not going too crazy.

#5144670 Getting analog art to digital

Posted by BagelHero on 05 April 2014 - 10:29 PM

You can scan and then do minor edits in photoshop (eg, color balance, contrast balance) to clean it up and make certain parts transparent as needed. she will need to learn photoshop, but you won't have to wait for the skills to transfer over. :) It might make for a pretty neat art direction, too!

#5142398 books on animation?

Posted by BagelHero on 26 March 2014 - 03:21 PM

The reason a cartoon animation book was linked was because good animation, whether game or screen media, applies the same core principles. It's been a mistake made by game animators in the past to ignore the huge leaps made by traditional animation; if you want to have impactful and good animation that conveys any feeling whatsoever, buy that book. It's also a great read. tongue.png


If you were looking for technical knowledge on literally what buttons to press; buy Digital Tutors, too. Great resource.


Though, I think you're more likely to find some good references on swordfighting animation systems looking up devblogs or finding tutorials online, honestly.

#5142396 How long does it take before you can roll out high quality models?

Posted by BagelHero on 26 March 2014 - 03:14 PM

Learning to model well, especially in this current climate of changing methods due to next-gen, will take you upwards of 5 years from scratch, add or subtract a few years based on time dedicated, wiring of your brain, whether you're going to school for it or not... Y'know, variations. Just like programming, the art side is complex and constantly evolving. I couldn't even imagine mastering both.

I know a lot of programmers that have basic art skills, likewise I also know a lot of Artists that have basic programming skills. I know some programmers with a good eye for design and art, too, but a fully fledged Programmer/Artist is a once in a blue moon kind of deal, and I suspect they have the brain for it.

But, learning to model something like portal, with UE4? Well, considerably easier. Learn to make some basic assets, then understand modular assets, understand UVing, understand Normal/Albedo/Diffuse/AO/Specular/Roughness maps, learn and understand baking, and honestly you're basically set. If you want to make game like that, I'd be more concerned with implementing the mechanics than the art.


But of course, there's a lot more than that. So, it depends. Do you want to model because you need it for a game idea? Or do you want to model because you want to master the art side of things?
For a game idea? Think months - 2 years before you get to a result you'll be happy with.
Mastery? A lifetime.