Quake3World

Vertex is a free eBook full of game art and tutorials from some of the industry leaders. Of special note is a Q&A session with old-school Q3W member Sparth (aka nunuk), who now works as a concept artist, with id Software listed as part of his portfolio.

http://www.artbypapercut.com/

cheers for the link

Nice, ty! Sparth's work is great. It's too bad he left id for microsoft :/

i have a feeling a lot more talent will be leaving id soon... their game mechanics just don't live up to their art quality.

We'll see with doom 4 I guess.

Quake V Arena \o/

This book should be pretty humbling for any to-be artist. But it clearly shows, find something you are good at and prefect that, stay creative and think outside the box.

IMO, it goes to show what nice freedom we have creating maps for Q3A... we pretty much have control over everything in the game (and those things we don't save us time, by not potentially detracting)... a luxury, most folks working in the industry absolutely do not have.

I still find it sad how, even I who tries to really take his time to appreciate designs and art, pretty much still bleeps over all the work and effort in this book. This becomes all the more apparent when playing several of the larger recent games in pretty quick succession, for me: Crysis 2, Deus Ex Human Revolution, Alan Wake (presently), Driver San Fransisco, Red Faction: Armageddon, Serious Sam 3: BFE, Portal 2, Trine 2... (since the Steam Summer Sale) all that art, and creativity just breezes by...

Even though these are great times, for game world explorers like my self... there just seems to be far too much of it. And most of it gets consumed like fast food... and then is ignored.

Luckily I am not an artist, or this might be a lot more depressing.

Maybe I just need more willpower, and just stick to 3 games per year, and very carefully choose those, and play them more than twice.

Oh I dunno, I have the habit of just standing still in a game from time to time just to appreciate its artwork.

I always take screenshots... many of them.

AEon wrote:I always take screenshots... many of them.

I think this is a habbit every level designer should develop. Other games are always a great reference.

Indeed... I found a lot of really cool design in Deus Ex HR. Was thinking of trying to use those designs for a map... potentially.

AEon wrote:IMO, it goes to show what nice freedom we have creating maps for Q3A... we pretty much have control over everything in the game (and those things we don't save us time, by not potentially detracting)... a luxury, most folks working in the industry absolutely do not have.

So true. My current project WatchDogs allows me quite a bit of freedom in what I create, and while the directors basically say "here's your section of Chicago, here's some reference and concept paintings...now go make something cool", it's still limited in that I'm assigned a section of town and given relatively narrow parameters for what I can design. Then of course after you design it, build a mockup and then refine it, the higher-ups come over and say,"Yeah it's awesome but we need you to change this because of that."

Here on Q3W, when people give you feedback on your design, you can ignore it if you want. On the job you have no real choice...you can defend your work and ideas and try to convince management what you created is "perfect" but there is a real chance you'll be changing something you disagree with.

Good that you mention that game, had not noted it yet... reminds me of Deus Ex HR (which I loved), and the free-roaming should make WatchDogs very interesting. When the game is out, remind us of what part of Chicago you made cool

hey dudes, it's been a long time since I have posted here, wanted to drop in for a minute and see where everyone have, or may have, gone to..progress in potential level editing careers, etc.

roughrider,
"Among the Living, follow me or ..."

/me waves.

GONNAFISTYA wrote:
So true. My current project WatchDogs allows me quite a bit of freedom in what I create, and while the directors basically say "here's your section of Chicago, here's some reference and concept paintings...now go make something cool", it's still limited in that I'm assigned a section of town and given relatively narrow parameters for what I can design.

What seems hard to me as well is that if you design section A of a town and your coworker designs section B, then section A and B should look like they are the same city and one shouldn't suddenly look like you're in Amsterdam or something. And these days there's quite a few artists working on a single game. How do you make sure all these different designers, who all have their own tastes, opinions and artistic style, stick to a single theme so that you end up with a package that feels like one whole rather than a bunch of different portions sticked together?

I would assume that that is what a Lead Designer is for... his/her main job is to keep on top of what his "workforce" is doing, pretty much on a daily basis, and ensure things look consistent. Ideally he/she would be something like a key frame artist, creating the main / important assets and then try to get the others to imitate that style.

Go through the SCRUM-Management process and you will see.
A lot of companies use it with some variations here and there.

@GONNAFISTYA: Now this's some sick thing you are developing there. Loved the facial expressions of your "partner", and this QR code guy (when you photograph them do you get to a page of a bar in Chicago? Could call for sponsoring here ), and the whole mission and the movement! WOW! One thing is pretty unrealistic though, in this "realistic" world. Why isn't the security running behind the player, when he starts to run? Hm... nevertheless, maybe a title I will buy, when I've got time.

Yeah, it's either an LD/Art Director, a Lead LD/Artist or Senior LD/Artist that is basically the gate keeper of consistency. I've held that job myself on other projects and it can be tough to have to turn down a really good idea that doesn't fit with the existing game, especially when the LD is really enthusiastic about it. But you have to learn to let go and move on for the benefit of the end product.

yes, this is all true. when you work on larger teams, you have to be willing to let go of your own ideas. but you also have to know when and how to push for your own ideas.

on the teams i've worked with, research is done up front to create style guides. it would be rare for an artist to work on an area without having a solid understanding of both the visual and gameplay themes, and how it ties into the overall picture.

there's also different types of artists... world modelers, texture artists, level designers, lighters, etc they all fold into a single picture, and if they are operating under their own ideas, you can see pretty quickly how a mess would be made. and that would cost time and budget to resolve.

Vertex Volume 2

In this eBook you will find information ranging from modeling & texture workflows to tips on working as or with outsourcing. This eBook features articles and workflows from studios such as Blizzard Entertainment and Ubisoft as well as tips and tricks from various freelancers in the movie and video game industries. This is another must read for any artist in the entertainment industries.

http://artbypapercut.com/downloads/

Already downloaded this yesterday, eager to check it out.
I should really buy a tablet for stuff like this.