The artist I have chosen to research is Guillaume Loquin, he was the lead character artist/ technical director on Sloclap's Sifu (2022) and has worked in the games industry for almost 20 years split between the tech and art side of games and is currently working for Ubisoft as an Expert Technical Character artist. Sifu has a visually appealing look to me, the silhouettes of the characters are all quite distinct from each other making them easily identifiable and more memorable although they are remarkably simple in terms of total detailing, I think this works in its favour allowing the silhouette alone to convey the character. Given that Loquin was a lead character artist at the time he would've been at least partially responsible for this decision and in my opinion it was the right one.
Due to the nature of this type of company work I can't necessarily attribute all of the following works to solely him where possible I will mention the other artists credited to the final product.
3D renders of Kuroki - The Artist
This is what I believe to be the best character design in the whole game in terms of overall aesthetic the asymmetric design lends itself to the dual nature of the character and acts as a perfect transition for the second phase of the fight, as the Technical art director during his time at Sloclap he would've been responsible for both the final look of this character ,alongside the actual 3d modeler Anaïs Simonnet, as well as making sure the assets required in this transition were all at the correct resolution for the in game engine and all worked together correctly as he has stated on his Artstation that "everything is shader driven" meaning the order of those shader assets has to be correct for it to be seamless when in the in game renderer.
Industry Job research
The jobs I am going to cover in this section are; 2d animator, general game artist and Environment artist.
From my understanding the job of an animator is to draw images in a sequence to create the sense of weight and movement of a character or object my own experience doing small animations supports this. 2D animators span a wide variety of skill sets including compositing, lighting, animators will also work on character acting and choreography depending on the role they have within studio, an animator with these skills although not a games artist is Vincent Chansard they currently work for Toei Animation animating one piece and they have an excellent show reel.
A general game artists role is to work on the visual elements of a game including but not limited to characters, props and objects, textures, asset management and environments. Games artists will usually specialise into a certain area within the game art development sectors however if you can remain a generalist you will sort of float around filing in spots where necessary whether it be sketching concepts, modelling from design sheets, lighting scenes etc, they will also go back and forth with the lead artists, designers and developers to make sure they are still on track and the vision for the game design is still accurate.
Environment artists their role is to create spaces for our game to take place in. They will generally be composed of 3d artists as environments in games are generally 3d these day, their job is to take concept sketches and developed drawings and potentially even level schematics and layouts to build environments in 3d software like maya, blende or unreal engine these software packages allow 3d environment artists to create block outs and demo them using unreal engines play feature so then you can look around the map and check the scale.
Real Worlds Research Dossier SWOT Analysis My strengths when it comes to this project are generally character design including the props and written backstory of my characters another strength is my ability to produce some half decent key art. I will play to my strengths in the 3d section by doing a paint over of a 3d block out as well as creating some interesting props to look at within the piece itself. My major weakness is 3D and the general workflow around it, I have some skill but I am nowhere near good enough in my opinion. Another weakness of mine is ideation and perspective so I'll try to push myself a bit more in those aspects. The ideation section of the 3d will help me improve on this area of weakness because it will allow me to delve further into shape language and storytelling through visual details. An opportunity that will come up in this project will be when I receive direct feedback from a client telling me whether the designs are working or not enabling me to go ...
Texturing Render captured in Sketchfab Texturing my model was quite simple I colour picked from my original character sheet and placed them where necessary using the polygon fill feature and a black mask. I also did most of the texturing on the base colour viewport to retain as much accuracy as I could. One thing I will say before any critique over the accuracy of colours on the Tommy gun is purely for character background the chamber and the barrel aren't rust blued is because they want to take care of this weapon themselves; to stay disciplined and as a reminder, the magazine gets changed way more frequently and is not a part that is as important to her although she does fill her own magazines. Character Texture tile Thompson M1928 Texture tile I do plan on going back through my textures and adding my own shading instead of relying on lighting as much, doing so would also allow me to add more personality to the final model. There will also be a version with the...
Character sculpt 2 - Gangster To start off my sculpt I used the base female model that comes with Zbrush. my main goal with this is to speed up my process I will eventually change the face to better match my character model but this acts as a good jumping off point. The first part of the sculpt I created were the trousers the following method applies to all of the main sections of the sculpt. I start with a mask and then extract at zero thickness without a double sided surface. Next I then use the polish by features operation and then Zremesh the extracted object with it set to 1 to get it as close to 1000 polys as possible once that is done I'll do some minor tweaks and remesh it again. After that I'll apply the dynamic subdivision setting adding thickness without actually confirming it this way I have some more freedom while keeping the original low poly mesh. Each of these components aside from the base mesh were created using the method I wrote in my last pa...
Comments
Post a Comment