BagelHero

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About BagelHero

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  2. BUMP BUIMP BUMP LETS GET RID OF ALL THIS OLD CRAP
  3. High poly finished in Zbrush - What's next?

    Alright. So. You want to use the "Decimation Master" tool,  though make sure you have an iteration of your final sculpt saved off first.   This tool decreases the polycount of a subtool, while keeping the shape as best it can. Don't go too low, but you should be able to decrease everything to a few thousand polys each instead of millions. Use those to import into blender for retopo, but still bake from the pieces in the detailed final sculpt file.   Zbrush has retopo tools, but they're kind of questionable at best.   If you need more advice, this forum can be really helpful but sometimes the art sections are a little quiet. Try asking at Polycount for advice that's program specific, there's just more traffic that actually uses niche tools for game artists in their workflow. http://www.polycount.com/forum/index.php It's a great resource in general and for networking as a 3D artist, too.   Good luck, hope this can help.
  4. Looking for an artist

    Hey Eggmaster,   There's something that you'll learn, and probably very quickly... No one wants to work like they're being paid on only the promise of money after the game is released. That's not so much that people inherently don't have faith in an idea (though sometimes that's the case), more that anyone who's been in the development scene for a while knows that so many games just don't get off the ground, no matter how hard working or good or independant the team is.   You also have to remember that you're not offering an amazing experience and resume piece to people, they're offering to help you get out of having poor art on your project. And that's fine, but don't act as if it's anything else.   That may sound negative, but it's just how it is for the former and how it comes across for the latter.     Being more positive about this, the way to fix this is simply saying "No payment". It prevents you seeming unreliable, or at fault if the game flops or never gets released, and it prevents you being able to take advantage of the artists by spouting bullhockey about higher pay in the future or whatever (though you sound like you wouldn't anyways, but try to think of it from the perspective of the person working for free). Also less legal documents and contracts this way! Which you should definitely be writing up if you're serious. ;)   Additionally, you can't recruit here-- Go post over at http://www.gamedev.net/classifieds/category/5-hobbyist-projects/. Yes, hobbyist. I know you have the desire to get it out commercially, but you're also not paying. Probably also a good idea to go over the vague ideas in the game to make any artists willing to devote their time more interested in picking it up as sort of a personal project. What genre is it? Do they have the freedom to develop the art style or do you already have something in mind and just can't draw it yourself? Isometric, sidescroller, top down...? They'll be more likely to look into if what you're describing sounds interesting to them, and like something they know they'll either have fun with or do without much time or hassle put into it.   Also would be nice if you could post your portfolio (this is my sly way of telling your to start making one now if you haven't) and/or previous games you've documented or progammed on. If you have a notable function, script or base for something you've done, show it, so the artists know you can follow through, and maybe even end up with a playable prototype with their art in it that they can show on their portfolios (that's a pretty good no-money payment, btw, as long as you can follow through).   Good luck, hope you can find some artists who'll help you out!
  5. A student who is stuck at the moment

    Don't try to make yourself do what you clearly don't have any interest in doing for the sole purpose of "getting into the industry". If you want to work in a medium-sized to large team as an artist, you shouldn't ever be expected to code. In my current small team, we even work around my poor level design skills, I just can't tell you in good faith that all teams you work in will be that accommodating. ;) Really though, if your passion is for sculpting rocks, focus on being the guy who's the best at sculpting rocks. If your passion is character design, focus on learning how to construct humans and create strong designs. You'll have more fun with it, and I feel that in the future your chances of getting a job will be much higher with those skills in your portfolio than with the skills of an unenthusiastic and stunted programmer.   I agree with this. Seriously, post your work or worries in the appropriate subforum at Polycount. They're notoriously harsh, but it's all in good faith, and there are a lot of people in the industry who visit the P&P forums daily who can give you informed advice. Not to belittle dA, but it's a community that coddles it's users and doesn't promote professional growth very well. So now that you've decided where you want to go, I suggest packing your bags for a more constructive site for now and get ready to buckle down and work hard.   You need to look into the specifics of what job you want in the industry. The bigger side of the industry has a lot of specialists-- big teams have people who only clean up clothing scans in Zbrush, or people who do background characters, or people who do props like garbage and rocks. In that kind of environment, Knowing how to do everything isn't much of a bonus. You don't need to have amazing skills in Environment art, AND Character art, AND Creature art, AND Animals etc because unless you're in a tiny indie team chances are you won't be expected to do ALL those things.   And on the 2D side, you need to figure out if you want to be the guy who puts together the art they show to magazines, hang up around the office, and put on the box. That first "concept" art kinda guy, or the (more likely to be in house and not contracted) job of the guy who puts together art they'll use in production. Eg, actual sprites and props, or production art like orthographics and references for 3D artists, modular scene breakdowns and character breakdowns with good facial ref and reference for ethnicity, what the clothes are made out of, etc. There are more jobs to break that down into, even then. Drawing every day doesn't get you very far unless you have a goal, so I'd really think about that.   Additionally; Wait, hold up. Use references. All the time. In fact, drawing from imagination at this point will actually get you next to nowhere. How do you expect to draw something accurately if you don't know how it works? You need to study the construction of anything before you draw it. This breaks it down nice and simple for people new to the idea: http://5019.deviantart.com/art/Tutorial-How-to-draw-anything-352414195   But check the links below to find some higher level advice regarding it, both ctrl+Paint and FZDSchool really advocate for the use of a "mental library" of objects and shapes and such, and I'm all for it. It will help communicate your designs more effectively, too. In fact, you can apply this to the human form and animal form, and once you have a good libary of anatomical and function ref from that, you should be able to more effectively create creatures. It all feeds into each other; knwoing lots about the functions and implied "feel" of animal parts can feed into vehicle creation, and that can feed into armor and character design... so on.   Some links: https://www.youtube.com/user/FZDSCHOOL http://www.ctrlpaint.com/ http://androidarts.com/art_tut.htm http://www.polycount.com/forum/index.php ("general discussion" for your posts about general career path and artist doubt kinds of advice like this thread you've made here, the approprate "Pimping and Previews" subforum for threads on your portfolio, or a specific peice of art you want feedback on, or a project WIP thread. Check out other peoples threads, too, theres a lot of good advice around and lots of inspiration!)   Finally, it's alright to be shy, but try to break out a little. Polycount is pretty laid back (Well, most over there are just artists and art students, so I find it tends to feel quite homely), and if you post a lot and help some people you can do some minor networking there quite naturally as well. Try not to let your shyness get you down, and definitely don't think that you can't make it on your own. You're right that you need the opinions and advice of other people to really make some progress, but it's quite negative to say that without that help you just won't ever make it. Don't worry so much.   Bleh, I talk too much. Just keep it up, hey? And post your art! I'd like to see it.
  6. Raster art for beginners.(Tools,problems,tutorials)

    Well, that guy already knew how to paint, so effectively (given enough time) they could paint in any program. 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.
  7. Welcome your new Visual Arts forum moderator

    Hey, congrats. :)
  8. Raster art for beginners.(Tools,problems,tutorials)

    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:
  9. Raster art for beginners.(Tools,problems,tutorials)

    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.
  10. @Bregma Wow, that article is a bit harsh. Not untrue, perhaps, but a little harsher than it needs to be.   In regards to OP, while a degree is rarely required, that doesn't inherently mean you shouldn't follow through with your course. As long as you're in a place where you can afford it, the extra knowledge gained while getting a degree can be invaluable, and therefore "worth it". But it depends whether or not that knowledge is more worth it to you, how much money you'll lose or gain if you drop out now, if the time spent solely on your portfolio will actually be well spent, etc. It's a question none of us can answer objectively for you.   Side note, I know hindsight is 20-20, but if you don't like the core course material to the point where you're just entirely disinterested, maybe you should have done a little more research before buying into it. Make sure you read Tom Slopers FAQs here, too. Will definitely help you out. I particularly recommend (in no particular order) #66, #25, #69, #51, and #24 (because it's just sound advice for everyone).
  11. Approaching an Artist

    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.
  12. Game Art Education Question

    Very few people will discredit your application for an art job based on your schooling (and lets be honest, if they do you probably don't want to work for them).   No one will see that you went to full sail and bring you in right away just on that, but it's possible for someone to click through to your portfolio and be entirely convinced that you're the talent they need. Portfolio over Degree. A degree will only barely increase your chances at getting a job, because in the end it's about your art and whether or not you'll fit in with the team. I'm of the opinion that a degree is not required at all as an artist in this industry unless you really want a focused environment in which to learn your trade, and you can't get it otherwise. But if you've really been making game art for this long, theres a chance you don't really need it (eg... there's nothing new they will teach you).   Game art schools are... Well, by the time you finish your course, the methods you learned tend to be pretty outdated. You also don't get a chance to specialize in most schools, they put an emphasis on generalising, which if you want to get into bigger studios or have a career being a specialist is not much of a plus. I know this from researching many schools before I chose mine, attending mine (and even while I'm overall happy with it, it still fell into a lot of these categories), and hearing horror stories from other students and teachers.   That's not to say it won't benefit you, I'd just think real hard about why you're going. What do you want them to teach you? Do you just need the time/access to good hardware and licenses to work on your portfolio freely? Do they offer a chance to specialise?  Do they teach this one thing that you don't know and won't learn unless you're in an acedemic environment?   I personally went because my 3D ability was sketchy at best, while my illustrations were already pretty decent. While I could easily have improved my 2D tenfold by myself within the year, 3D kept going over my head, so I needed tutoring to get started. And I did need that; I want to be a character artist/designer, and not having 3D ability cuts an already slim pile of job opportunities in half. In the end, I paid over 40k specifically so I could have an environment in which I could pick up the skill I needed most but was still lacking, make contacts (INVALUABLE), and access licences for all the programs I needed. I don't have any regrets, but I'd wanted this pretty specifically for years. If you've already made assets that have ended up in a game, and know general workflows, it may actually be kind of detrimental to go to a game art school (though perhaps a good experience to take a real art course for a degree).   Got a portfolio link? Or can you name any games you worked on that actually got released? If you don't, when you do manage to get your art together, make sure to post for a portfolio review here. :) There are a number of very qualified people who generally answer those threads with good advice.   Checking out the Polycount forums is also a fantastic idea, if you don't already frequent the site. They have long ongoing threads on this topic, with many industry professionals weighing in. I'd suggest having a browse (you'll find those threads in General Discussion).
  13. Lighting/Shading in 2D

    +1 to CtrlPaint, also this: http://androidarts.com/art_tut.htm
  14. What's the industry like?

    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!    
  15. 2d tutorials and learning resources

    Well, while this is bumped... Lots of stuff: http://androidarts.com/art_tut.htm   Composition: http://www.cgsociety.org/index.php/CGSFeatures/CGSFeatureSpecial/phil_straub_composition_tutorial http://dantat.typepad.com/dantat/2010/10/notes-on-composition.html