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Member Since 06 Sep 2011
Offline Last Active Jul 20 2014 08:19 PM

#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.


#5139328 Can anybody recommend some books?

Posted by BagelHero on 15 March 2014 - 04:57 PM

Sketching daily is a great way to keep up technical skill, but give yourself some direction. Learn the fundamentals.
Keep yourself inspired.  Above all, "expand your visual library" (as Feng Zhu would put it, lol)! In reality, lots of amazing artists will suggest this to you; Stop and smell the roses, do new things at every opportunity. Travel. Explore. Consume media, but not only the ones you usually do, watch something you're pretty sure you'll hate and break down why. It'll help you stay fresh and always have shapes and feelings and ideas to draw upon... or avoid, as the case may be! tongue.png

Anyway, back to practicing your technical skill. You say ''drawing'', but I'm assuming you mean describing form also, so I've included some painting tutorials and suggestions, too.


Firstly; I love Ctrl+Paint. It's a resource for learning to paint digitally, but in actuality has an amazing amount of resource for drawing, fundamentals, composition, perspective, all that good stuff. I linked to the library, where you can simply watch all the videos in order, but they have a blog they update often also. They give fantastic advice, and aren't tutorials as such, so I would really highly suggest watching them.


Also, have to suggest PSG Art Tutorial once you have a bit of understanding about construction and anatomy and such. Fantastic resource for beginner painters and people wondering why their art isn't getting the point across to outside viewers. Has a lot of tips to help you go about making your art "pop".

As for books, I've always had a love for the Andrew Loomis ones. I believe they go over proportions and planes of the face and such rather well, though it's been a bit of time since I read through them. I think the current copyright holders are thinking about a new print run (The original reason these books were uploaded was because they were out of print and as such kind of hard to find). As such, here's a site with links to purchase the books.


I also adore Drawn to Life: 20 Golden Years of Disney Masterclasses: Volume 1/Volume 2. It really helped me get a handle on what I was doing wrong when trying to get my characters to express. It's from an animation point of view, but really helps with character expression in regular drawings, and goes over some basic drawing mistakes, too. Also fantastic if you ever want to get into sequential art (comics, or even storyboards).


I also second Drawing on the Right Side of the Brain.


Lastly, I'll throw down some awesome tools for practicing/studies.

Carapace is a free, lightweight perspective grid creation tool from Epic Games. It's easier than basically anything else I've used for this purpose, and I quite love it for when I'm not quite up to drawing in a grid by hand.

PIXELovely is a site that is incredible for quick figure/gesture drawing sessions, and now has hand, feet and face tools in addition to it's original Full Body and Animal practice tools. It's basically flashcards for artists, and I find that doing a Class mode session once a week, and a couple of 30 sec gesture sessions (where I just try to capture the essence and weight of a pose with a few lines) and 2 minute figure sketches (Good flow, proper proportion and construction, but no details) tends to keep me in shape. Some people prefer longer sessions, though, as it allows them to capture the mood/shading/properly study the anatomy. It's up to you!


Screenshot Archives. I like CinemaSquid's Blu-ray Movie screens, but they're not always the best shots; so you kind of have to already know what you're looking for in terms of what makes a good study. If you hunt around for a good, hi-rez movie screenshot site, you'll be able to make them into fantastic value and compositional studies. Basic Value Study Tutorial (just in case you aren't really sure about it how to go about doing one). In the case of these movie screens, You probably want to eliminate the color variable, and just focus on describing form and depth with greyscale. smile.png I personally don't convert the image to greyscale but it does really help, and you might want to do that for a while.

Compositional ones, meanwhile, are of course simply breaking down the shot into what makes it effective at portraying the feeling it gives you, or communicating a point. A fantastic example. They should be small thumbnails, so you don't get carried away with detail.


There's a lot more I wish I could say, but for now I think this will be enough. I hope this isn't too overwhelming, and helps you get on the right track.

Good luck learning to draw and design efficiently, and learning how to get your ideas out and presented!

#5135805 Cost of modelling

Posted by BagelHero on 02 March 2014 - 12:48 AM

The guy wants to hire someone! There are plenty of reasons to hire people; he's even named a few.

It's fair enough to not want to do the work yourself, but still want to have personalized and professional assets for your game!


I'd suggest looking for a freelancer. This forum has a Classifieds; try there. Polycount also has professional level artists haunting their Work Opportunities subforum.

All else fails, a little googling and linked-in stalking might turn up some results. If you want someone good you're probably going to be paying per hour, or perhaps per asset. Good luck finding someone that suits your needs and budget! I'd be open with them about what you can pay, and work with them on it, based on their prior experience and how much time it's going to take them.

#5128058 Feedback needed on concept experiment

Posted by BagelHero on 01 February 2014 - 06:13 PM

Yeah, definitely a good idea. However...


Of course, you appear to have a very different aesthetic and it could very well play differently/have different goals, so this isn't me telling you to give up. Make sure to be unique and put in your teams own feel and spark and I'm sure it could end up fantastic; simply, there's already a game that's proved this to be a viable concept. :)

#5128052 Best 3D Animation Software for a beginner 3D Designer/Animator?

Posted by BagelHero on 01 February 2014 - 05:49 PM

I would highly recommend using Maya 2014. Really easy to get the hang of, very simple to use (and fantastically easy to get into an engine).

For absolute basics and intro to the graph editor, here's a tiny tutorial-esque thing that might help, though I'd ignore the render settings part (I only wish I could link my course files from last year). It's for an old version of Maya, but it should be simple enough to decipher.

http://lemoney92.blogspot.com.au/2010/06/how-to-animate-in-maya.html This goes over basics for a rigged character, though I'd suggest that for a rigged character you also use Character Sets.
That explains how to set one, and what they do is make it so when you press "S" to set, it doesn't set EVERY bone, it keeps some clean. Can be really useful for doing your work in passes, eg, just the spine, just the head, just the legs, just the arms, then finally the facials. I usually have a Leg set, Arm set, Core/Torso set and Head/Facial set, personally.

For additional info, see the official docs.

#5125023 2D Concept Art - Feedback Needed

Posted by BagelHero on 20 January 2014 - 06:09 AM

 If I cool down the background and warm up the foreground, with the snow having to remain white, the contrast between the snowball, the snow and the background will be even lower. This is the main reason why I'm using warm colors.


Having everything being the same amount of warm is causing the foreground, background and middle ground to blend together, though. Warm pops, but when everything's warm, everything is actually neutral. This is what the pictures in my previous post were illustrating (I made the foreground cool, left the middle ground, and made the background warmer). While you don't need to take my specific approach, I don't quite see the logic in keeping a bland straight up and down color palette when one that's slightly warm and cool to each end is an easy way to make the entire scene pop.


As for "And in the final version, make sure that rock is a solid color and doesn't have white creeping in around the edges, that was making it hard to distinguish."...
While I was doing a paintover, in your version the rock has white airbrushed in around the edges. I don't know why, but it's definitely there and it messes with the contrast.


If you're really that intent on making them one shade of red instead of very slightly orange-y/red/very slightly purple-y, though, I'd suggest doing the scenes in greyscale then doing a color wash with an overlay layer set to about 50%. That way you can make sure the values/contrast are definitely right before you add in the color, and you can just focus on that, and it should keep the same contrast. Additionally, it looks almost exactly like the end result you've been getting so far, only with 'perfect' contrast/values. Again, good luck!

#5124922 2D Concept Art - Feedback Needed

Posted by BagelHero on 19 January 2014 - 04:11 PM

I may suggest, though, that instead of adding an accent color in the way sunandshadow described, you cool down the background, and warm up the foreground (or vice versa, according to scene, feel and taste) just a little?
Just, specifially, to make it obvious what is background and what is foreground. The reasonably plain gradient from red to white isn't doing you any favours in separating a few pieces of information (eg, hills in the background fighting the snow hue, rock in the foreground fighting the middle-ground).


Top set of colors is the color palette I did, bottom set is the original. two blobs in the upper right are snow's shadow drop and the mountains color respectively. I didn't deviate too much, you still want the overall theme to be the same, but I feel something like this would leave more of an impact.



In this case, the darker the shade, the cooler the hue, and the lighter the warmer (with the exception of the snow's shadow, because I wanted that to stay cool). Additionally some changes I might suggest are to pull back on the use of soft gradients. I feel a slightly harder line on the snow's shadow is in order to make it feel a little more like a solid mass and a little less muddy. And in the final version, make sure that rock is a solid color and doesn't have white creeping in around the edges, that was making it hard to distinguish.


I'm personally pretty fond of the light hills, but dark works too of course.

#5116966 Curious About Creating Fantasy Art

Posted by BagelHero on 14 December 2013 - 06:01 PM


You need to learn the foundations. Once you have those, you can put them towards anything you want to do.

Oh no, I was afraid that would come up tongue.png For some reason I was hoping I would be able to skip past all the foundations and go straight to digital painting (crazy I know, but worth a shot biggrin.png).


Haha. Well, I mean, you could. It'd just be frustrating, and chances are you might give up before you got anywhere.
Foundations are a tad tedious too of course, but also mean you skip 3-5 years worth of stagnating and wondering why! ;) I reckon you could get pretty far with an hour a day for a bit, so good luck indeed!

#5116812 Curious About Creating Fantasy Art

Posted by BagelHero on 13 December 2013 - 10:50 PM

You need to learn the foundations. Once you have those, you can put them towards anything you want to do. The post above is an oversimplification of a couple of things you should cover. I'm possibly forgetting a couple of things, but the things you need to cover and master at their basic level in order to be able to do art at the level you've shown are (in no particular order):

  1. Line
  2. Perspective
  3. Value
  4. Composition
  5. Color Theory
  6. A good understanding of Form/Volume
  7. Solid understanding of light and lighting.
  8. Anatomy

Additionally, you'll need to do a lot of general design and good aesthetic studies.

It looks like a lot, especially after you actually start to dig into the subjects. However, it's also important to remember that once you have built your foundations, you are literally capable of drawing anything (with a little help from real life reference, of course. Can't do it from memory and imagination all the time). All you need to do is break it down.

Looking at your examples, digital painting is your final goal, which means it's probably good to get a foundation in Photoshop, Painter, or some other digital app, too. For now, I'd say pick one and stick with it. You can migrate to one that "feels right" once you have a better idea of what you're doing.


Here're some useful links for you, with that final goal in mind. Most of these do focus on foundations strongly, though, so you'll find some subjects will count for traditional mediums also.

I was going to add more, but in all honesty, between Ctrl+Paint and the Art tutorial that's really a lot of ground covered. Make sure to do your own studies too though.
For anatomy/gesture/figure studies, I use PixelLovely Figure and Gesture tool. It pulls up photos for you to  quickly sketch out and class modes that allow for intense study after limbering up.
For Value and Composition studies I like to pull screenshots from scenes in movies that left a visual impact on me; But I tend to pick stills from these galleries.

Importantly, though, even though you may not have the finesse and skill quite yet, attempt to get your ideas out onto paper or canvas anyway. It's fun, and studies can sometimes be draining. So it's good to remember WHY you're drawing/painting sometimes by executing your own ideas. You'll also have something to look back at and compare to in terms of the improvement of your ability to translate your ideas to something tangible.

For your original questions, though, all of those paintings would have been done is a digital art program, but people use different ones. Some people would use Photoshop, yes, but some would use Painter, or even a combination of multiple programs.
The character's outfit, when it comes to designing characters, mustn't really be thought of as an addition to the form. It contributes to the overall composition of the figure's silhouette, and even the scene in the case of a painting. As such, it must be taken into account during the entire process, ideally. Ctrl+Paint and the Art Tut cover this in a few of the workflow and character creation/silhouette segments, I think, so I won't go into details.


Good luck, in any case. I hope I didn't scare you off with the long post, haha.

#5112641 What's wrong with game dev guys? (or me)

Posted by BagelHero on 27 November 2013 - 10:37 PM


Actually I had offered "(not-so-)old school" isometric graphics , so no Unity etc involves. I think it is easier to achieve than going full 3D, AAAs set bar too high for decent 3D graphics.



- Using 3D with fixed ortographic projection may look easier at first but I think even "manpower" required to make assets low-poly yet hq is much more work, you go high poly  other way. (especially if you are not giant Swiss army knife)


Not in the design field, so I'm not going to chime in on that stuff, but as an artist I have to say that's actually kind of a big misconception.

A lot of people have said things along the lines of "Well, it'll be easier on you if it's 2D, right?", and at least in the context of me I can understand where the sentiment comes from. Most of what people see from me is 2D, so they're basing it off that. But as a generalized statement, 2D is not necessarily easier to achieve than 3D.

"Full 3D" means you don't have to draw/paint/pixel the same sprite from multiple angles if it doesn't work to just flip it, and if you made them in a modular way you can just scale up and down and move pieces to easily create new buildings that follow the same style/universal rules. They can even use the same texture sets!


Now, of course, you can make modular 2D assets, too, but hand drawing is a little more time-intensive. I should think having to draw different angles of near-everything, combined with the fact that scaling modular pieces can be near infuriating depending on the art style.


Additionally, at the scale of your generic "city simulation/tycoon" game, it would hide most all of the actually difficult 3D work, like hiding slightly iffy seams and the place where objects intersect (as you'll never really be close enough, even zoomed in).


The bar for 2D graphics is no lower than 3D, to be honest, and having worked with both, for something like this I'd pick 3D over 2D to work with any day. I also believe that a good 3D artist (eg: the one you should be hiring) wouldn't take anymore time to create a usable asset than a 2D artist.


Just my 2 cents.

#5109262 BaukjeSpirit's art thread (looking for feedback)

Posted by BagelHero on 14 November 2013 - 02:41 PM

Wow! That tree in the foreground is looking fantastic, I can see the improvement already! The different brushes and techniques you're trying out here seem a little more professional. smile.png
If I might, though, the tree root, the gash in the ground/step down to the path and one of the background trees are making a sort of box, and it keeps leading my eyes, especially with the brightness of the water being there. This might not be too much of an issue, but if you need the attention focused elsewhere in the scene, it may not be ideal.


Another thing would be I cannot tell if it's a hole in the ground or a small ledge, but you've stated yourself it's a WIP and it might just not be rendered out yet, which is fair enough.

Looking forward to seeing it completed!