ctriolo

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About ctriolo

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  1. Need Ideas

    Some piles of sawdust definitely wouldn't be out of place given the saw.
  2. Help a 3DSMax noob get a good render

    Are you trying to render it out just as a still-image? If so, I beleive one method (At least when I did it) was to render your ambient occlusion as a separate, textureless pass, and then layer it onto the image in something like Photoshop or Aftereffects for the desired effect. Would that work for you?
  3. Starting to get good at spriting?

    [quote name='Komatsu' timestamp='1327187322' post='4904966'] no offense but this looks like crap. the original was way better and looked way more professional. [/quote] It was hardly meant to be a replacement - more like a 30 second demonstration of how one could make it less busy. Ideally the result would be that the TC would come back with his own edit.
  4. Seamless textures in Gimp (Screens Included)

    Sounds like the offset may not actually be doing anything. Your texture should be going from this... [attachment=6786:nonoffset.gif] to this. [attachment=6787:offset.gif]
  5. Seamless textures in Gimp (Screens Included)

    Your 2nd picture actually does have telltale signs of tiling - it's just a bit harder to see due to the color palette being EXTREMELY dark and low-contrast. Looking at the full size version, there are definitely tiling seams visible (particularly where four corners meet). I don't use GIMP, but the principals behind this are universal and I can explain to you why the offset -> clone tool system is used. Basically, all offset does is force you to SEE the seams of your texture by forcing them to the center, rather than at the edges of your image. You'd get the same effect by manually tiling it. The idea is that it makes it easy to then clone brush the seams out of visibility, leaving you with a perfectly tiling texture. The reality is often a bit more complex than this, however, as removing seams can add more seams on the new "edges" of the image, and oftentimes a base image that has a lot of variance (like your example first one) can be very obvious in its tiling even when seamless due to distinctive repeating "marks", such as that one bright spot. I often use offset a number of times before I'm able to call a tiling texture truly finished, especially when it comes to "organic" looking things. Some image examples: [attachment=6780:Ruins_NoOffset.gif] Here's a floor tile from an old game I worked on. [attachment=6781:Ruins_Offset.gif] Now here is that image offset 50% in each direction. Notice how it still looks like a completely uninterrupted texture? This why you use offset, to reveal seams and check your work - this tile is seamless no matter how it's offset in relation to itself. [attachment=6782:Ruins_Floortile.gif] Here it is tiled. [attachment=6783:Badtile.gif] Avoid distinctive marks in heavily tiled textures. It gives you away. This is a bit over the top, but even bright spots or lighting inconsistencies can be a dead giveaway - the human eye is extraordinarily good at recognizing patterns.
  6. Any success stories of internet teams?

    The Amnesia: Dark Descent team was entirely online based from what I recall - I met them in person and they mentioned that they've only met up as a team a couple of times. Seems like it requires a -ton- of dedication, although it certainly paid off for them!
  7. Dredmor art dredmor art dredmor art.
  8. Starting to get good at spriting?

    Nice job! Your color palette is pretty good, and overall it's pretty readable. That said, I feel like it might be a bit hard on the eyes due to how busy it is, especially the grass segments. Admittedly this might just be your game's art style, but I'd say the mix was a bit harsh. As an experiment, I poked about with the image and extended the area covered by your midtones a bit. It's far from perfect, but I think it conveys what I'm saying in a sense. [attachment=6773:Midtones.gif]
  9. Well! Now that I'm back in the groove of things it's time to start posting on a regular basis. Thanks for the warm welcome last post! I really appreciate it. Now, I promised I'd ramble on and on about things, and now I'm making good on that! Right now I've just finished up doing some monster designs for an upcoming Dredmor patch, so let's talk sprite design. Dredmor is a bit of an unusual game in that the art style can often be all over the place (at least 4 artists have contributed over the years to its various monster sprites), so I have a bit more leeway to go in different directions with the new ones that I make. That said, there are some things that are just always important when I sit down and work on a new sprite. I beleive that the most important thing when it comes to sprites is readability. Players need to know what they're seeing and what the thing they're seeing is doing, even in the midst of a huge mess of effects. The faster someone can realize what they are seeing when they look at a game screenshot, the easier it is on the eye. Even though dredmor is not an action game, I believe very firmly in keeping strong readability in its sprites - not just because of how busy the screen can get, but because art is such an important part of dredmor; readable sprites are always better art. I think that good design can generally be broken down into steps. This is an example from the TIGsource forums where I took a rather boring-looking sprite and made it a bit more interesting. I've laid it out so that the distinctive elements can be easily recognised. 1. Interesting posing / silhouette. I really think this is vital to making a character recognisable and appealing. Think about times in games when the screen has flashed white and you only see a black outline of your character. How many of those times were you confused as to which thing on screen was your char? Not very often, I'd wager.That's because the character was designed to stand out from others, all the way down to the "outline". Silhouettes of the new set of monsters I'm making for dredmor. Notice how each one conveys a significant amount of WHAT the char is, despite having no color or interior detail. 2. Non-uniformity. Stripes on clothing, bangs, whatever. It's important not to fall into the trap of thinking of everything as a simple, symmetrical shape. Details can be added everywhere and breaking up a character's design with little things is a great way to make them distinctive and memorable. The Cloud Gremlin went through a number of (shall I say, rather ugly) aborted designs before I finally came up with something appealing. Shitty Designs Non Shitty Design He has a very simple character design, but adding the flight helmet with goggles was what really made him click with me, taking him from "boring monster" to something perhaps a bit more charming. Adding context and "story" for players to think about - suggesting there's more to the universe than just what the game shows - really brings characters to life. 3. Good color palette. This is EXTREMELY important with sprites, especially smaller ones. Color selection says a ton about a character, and ideally it should be one that is easy on the eyes at any resolution. A lot of beginners like to stick with pure, fully saturated colors for their sprites, but this can cause a bit of eye strain due to all the bright clashing. Brightness used sparingly can often be a lot more effective and eyecatching than brightness everywhere. Note that another important use of color is to separate out parts of the character. In the initial example at the top, the green backpack really stands out and gives the character a nice detail that's both interesting to animate and recognisable for the player. It'd be much less distinctive if it weren't such a unique color! The original concept for the Shield Crab was fairly similar to the end result, but had a few color issues. The Shield Crab could easily clash with itself or other nearby objects with the wrong color palette. Bright red, in particular, can be very hard on the eyes. Here, I'm going with a slightly desaturated purple-red to ease the color a bit. Similarly, the armor is tinted slightly blue to give it a softer feel. I think the result is fairly pleasing to look at. 4. Good shading. This is a tricky one and a subject all unto itself, but simply put - a well-lit character can make all the difference when it comes to readability. Good lighting defines the dimensionality of a character and lets you know how they're shaped. Bad lighting just confuses the eye. I find the best way to keep yourself aware of whether something is readable is to zoom way out and see if you can still tell what you're looking at. If it degenerates into a mishmash of colors or is otherwise unrecognisable, something is wrong. It's also important not to go overboard - it's entirely possible to shade something with such complexity that it becomes difficult to read from farther away; people don't always end up looking at screens of a game from the most ideal angle or resolution. While the main problem with this original design was that it didn't look much like a Rutabaga at all, the basic "face shading" stayed the same througout.Having that strong light source from the right is key to making it clear exactly what was going on with the character - as is keeping the bright areas small enough to give a real sense of roundness. Sometimes less is more when it comes to shading. Shading larger surfaces can be tricky when it's interlaced with a number of color changes. However, if you step back and squint, you'll notice the lit "front" of the character stands out very distinctly. This is super important! People will be able to tell what it's shaped like, no matter how far away they are. These three characters barely changed at all from their initial concepts, and I'm pretty happy with how they all turned out. Fun times! Spriting for Dredmor really lets me experiment with a wild variety of characters. Next post I'll likely be in the throes of animating these characters and you'll get some rambling on that subject. Also, I'd love to hear your comments / questions / things you'd like to see me blog about. I wanna make this a very feedback-y blog Thanks for reading!
  10. Hurr! Also intro post.

    Well! Hello there. Mr. David Baumgart (who is currently my boss) referred me here, as apparently this site is awesome. And here I am! I'm prone to rambling a lot, so I will include something animated with each paragraph to keep you from getting bored. Name's Chris Triolo. I'm an animator, currently working on Dungeons of Dredmor's expansion and other post expansion mabobs. I'm here for a number of reasons! (A fun little animation I made for someone on the TIGsource forums who was asking for advice on making appealing pixel characters.) 1. Get more exposure to and discussion with the dev side of game development, especially in how it relates to art / animation. As an artist it's pretty easy to be insulated and isolated from the other end of game development - but it's also important I know about what's going on over there to make my art the best it can be for the game. Context is important! And it helps a lot with preventing that "Oh god, this animation looks amazing by itself but makes no sense in-game" moment. I find all aspects of game-dev interesting, even if I'm only involved in a portion of it... and in my experience, learning more has always been a good thing. (My avatar on most forums - a somewhat metroid-inspired run cycle.) 2. Post my animations and probably rant about them in some way or another. This one's pretty obvious! I love talking on and on about animation. I'm also hoping to find some inspiration here for personal work! Maybe some challenges or ideas. Looking at what other people are creating always gets me excited, frankly, and I wanna harness that for the creation of MOAR ART. (A looping spell effect for Dredmor - not sure if this one's been implemented yet!) 3. Probably look for some more freelance work! Working on dredmor is awesome! But it doesn't always take up all my time, and who knows how long the game will still need more content. Gotta diversify! Dave (dbaumgart on the site here) has been very happy with my stuff, and I'm very confident that I can adapt to just about any style given a bit of time. (Dredmor's female hero! All in all, I ended up making over 500 frames of animation for this alternative to the male character.) That's pretty much the long and the short of it! I plan on making a few posts about my work for Dredmor, but that'll come later - for now, I'm just interested in meeting people! Here's hoping I get some commenters Thanks for reading!
  11. Setting up on this crazy place! :X
  12. Dungeons of Dredmor Art

    This is gonna mostly be pixel animations I did for Dungeons of Dredmor. These are all animated! You'll need to click on the image to see the animations. (And please do - it's the real heart of the images)
  13. Wight

    From the album Dungeons of Dredmor Art

    You'd think a skull would be able to find more clothes than that. ...although I wonder how it keeps them on.

    © Gaslamp Games

  14. Living Statue

    From the album Dungeons of Dredmor Art

    It's chars like that that make me love how weird I can get with the animations in dredmor.

    © Gaslamp Games

  15. Muscle Diggle

    From the album Dungeons of Dredmor Art

    Auuugh D: By popular demand on Something Awful we implemented a muscle diggle. eeeeyup. :X

    © Gaslamp Games