EMC3D - Game Art Profile picture
Oct 15, 2022 11 tweets 5 min read Read on X
ART TESTS 🧵(1/10). I rediscovered some old e-mails of art tests I have done over the years & wanted to share some things I wish I knew at the time & what to watch out for as a 3D artist who is on the job hunt. This will contain both good & bad practices. #gamedev #gameart
(1/10) I hadn’t noticed at the time due to inexperience, but looking back, this art test situation was by far one of the worst ones with multiple warning signs. After applying & completing an art test (80/100 hours) for an AAA studio, I was sent the following e-mail.
(2/10) Take note of the areas in red. At this point, I should have exited the process, but alas, I completed the additional 2 tests equalling about 60 more hours of work. A total estimate of about 1 month of working hours in 3 weeks. There was no response, so I inquired.
(3/10) After 3 weeks of no response, I followed up & inquired about the test & requested feedback on how to improve. After spending around 160 hours across 3 art tests, I received a response regarding my application. No acknowledgment of feedback, just a wave goodbye.
(4/10) On the other side, I have completed tests that have been purposefully scoped to be around 16 to 32 hours of work, resulting in a few days to complete. These are the best types of tests as they take into consideration that you’re a human being and not a blank face.
(5/10) It's healthy to turn down art tests. You may be in a circuit wanting to please every studio, but look out for yourself. If multiple tests are affecting your quality of life, drop them. Send an e-mail that you’ll be dropping out of the test & thank them for the opportunity.
(6/10) On the studio side, art teams need to manage expectations by providing art tests that are scoped well, with feedback being either embedded or the final closing action. These tests should go to the very best of applicants, & not be blanket sent to mass pools of applicants.
(7/10) By scoping art tests & sending them to select applicants, you can bake feedback into the process, which will help artists grow as they continue to develop in the industry & job search. Mass sending out art tests leads to the very issues I've outlined so far.
(8/10) All in all, we need to make sure junior artists are given correct & thoughtful information to progress their skill set & career. We should not demotivate them & throw them away after attempting to prove themselves by completing an art test.
(9/10) Quick anecdote: I was once sent an art test on a Friday afternoon & was required to complete it by end of Monday. The test would have taken roughly around 50 hours to complete. I politely declined & enjoyed my weekend. Don't feel pressured to do tests, look after yourself.
(10/10) Looking forward, I am seeing some great developments in the art test process for the games industry. Studios are picking smaller tests, starting to pay, & a lot of studios are providing feedback not only at the end of the art test, but during it. The future looks bright!

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More from @EMC3D

Feb 18
A big thing we pushed on our environment art pathway at University was to spend 'A LOT' more time on blockouts.

Blockouts were the most rushed phase, folks want to detail, model, and texture ASAP, but you'll end up suffering later on in production if your blockout is 🥔.

We used the 'Hybrid Blockout' workflow to mitigate against this common pitfall.

👇🧵Image
What is the Hybrid Blockout?

It's a workflow that focuses on 3 rules for a blockout before moving into production.

1⃣ To have mid-grey, values, and then flat colors mapped to geometry that is representative of the final albedo.

2⃣ To have an establishing shot (wide angle) and a hero prop shot (telephoto) as a minimum.

3⃣ Geometry must be identifiable.

References:

gamesartist.co.uk/burial-at-sea-…
artstation.com/blogs/dmgarner…Image
Image
1⃣ To have flat colors mapped to geometry that is representative of the albedo.

This technique was inspired by an old podcast where lighting artist Vivian Ding (Naughty Dog at the time) explained how artists mapped a series of values and colours to blockouts, so that they could be lit to a higher quality early on.

You'd get separation from the values, bounce light from the colour, and better readability of the space.

You can color-drop your concept or reference for the values, usually wood would be some type of brown, red for bricks, etc.

If it's done right, you kinda get a cool looking stylized piece of work after 16-24 hours.

References:
Image
Image
Read 6 tweets
Nov 17, 2023
🧵A Guide To Games Art Schools🧵

I previously taught at a Games Art school for 6 years.

Half as a mid-level lecturer, the other half as the course lead/senior.

🔽 Here's what I've learned, advice, and opinions 🔽

#gamedev #gameart Image
1. Self-study or study at a Games Art school? Image
2. Self-study or study at a Games Art school? Image
Read 8 tweets
Nov 12, 2023
🧵Old School Environment Art Tests🧵

If you recognize any of the art tests in this thread then you've probably been on a few adventures in the games industry.

My knowledge of these is mostly EU/UK, in the public domain, and from around 2009 to 2015.

🔽Let's take a look🔽 Image
Bizzare Creations (Example by Paul Clayton)

This art test had you deconstructing real-world references of a New York building facade and creating an atlas-style texture of the references to map your geometry to.

A common texturing technique for racing games. Image
Splash Damage (Example by Noel Mahoney)

This art test had you create a sci-fi container prop with a high to low-baked workflow.

It had duplicate elements that would test how an artist broke down, re-used, and optimized the unwrap to account for large surfaces and repetition. Image
Read 10 tweets

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