I got a DM asking if Violent Triangles is suitable for "n00bs".
Absolutely. The book breaks down how game art works at the fundamental level using diagrams rather than huge blocks of text. It then goes through practical techniques and tricks, again using diagrams.
Artists think visually, so what better way to communicate how game engines work?
And once you understand the fundamentals, we get into tricks like what is the cheapest way to do low poly elbows, how to bake normal maps perfectly, understanding modular assets and so on.
These are the rough images, just picture this with more polish.
So rather than pre-orders I am creating the book and giving early access to the tutorials and diagrams on my patreon (deets when I update it) as I turn my scrappy note folder into glossy pictures.
Soooo many simple diagrams and visual demonstrations, so I really want a community to get early access and ensure everyone really gets the images. Feedback and support is key here.
Aaaanyway, stay tuned for the launch.
I guarantee even professional artists will be like "what the fuck, I didn't know about that trick" on a few things.
I got around when I was game dev consultant for Autodesk. I have seeeeen things. :D
Once I get far enough through to really show off what the book has to offer, I probably will set up preorders in order to do physical copies. I am sure folks appreciate big assed books on artist desks- just to prop up monitors or look impressive ;)
I have been making game assets since real time 3d started, and my work appears in games like the characters and creatures of Unreal Tournament 2004 among maaaaany others. I am old and wise and mouthy and gay.
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Elden Ring has an interesting mix of technical art lessons if you take the time to run around and stick your head right up against things. Some good lessons in how to, some lessons in how not to.
My overall thoughts was there are a lot of times when things needed to be allocated more texture memory, as their creatures tend to have a lot of surface area to cover. Props to the folk unwrapping them!
As a result, textures can be blurry on some things, as just so much has to be crammed into very limited space.
A big shout out to @minionsart for posting, risking god knows what sort of comments. Let's unpack this as a lesson for everyone about this technique. Because it has strengths and weaknesses depending on what you are using it for.
Okay so the principle is you texture using the UV coordinates to sample coloured pixels from a texture. That is all UV mapping really is... pointing the shader to sample some data stored in a grid- which we call a map.
#gamedev tip: question: what polycount is "optimised".
Actually an asset can be optimised in many ways- it's really about shifting the load from the bit of the computer that is bottlenecked to the bits that have room...
A model can have a tonne of polygons ripped out... but it still choke the framerate because the problem isn't processing the polys... it could be the shader complexity, having to switch materials several times per model and juggle 4k textures into the 3d card memory...
There are two types of optimising for art assets. Pre and post.
Pre optimising is setting a budget, trying to keep things streamlined and planning ahead. It is a cautious, pre-emptive discipline.
Post optimising is when shit is causing problems and needs fixing.
Elden Ring is a like a lousy shag. You meet someone new and they look interesting, you get excited but seconds later they have finished with a one shot before you even get out of foreplay.
My theory is the dudes defending the game all have untreated premature ejaculation issues.
Replaying it again to make a study of the assets and techniques for a soulsbournesque art pack reminded me of how much the game is running through shit until you stacked your spreadsheet out and grabbed some doodads to come back and oneshot them instead.
Its really a numbers run.
How to make new 3d game artists suddenly feel terrified?
Ask them to show you their wireframes and unwraps.
Folks, we need to see them.
You can be the best visual artist but if your model is hot garbage held together with sticky tape that will be a nightmare to work with? No.
Working in games requires the discipline to make use of limited resources, and work within a team.
Sure your model may look breathtaking, but if my animators go home sobbing from trying to rig a rats nest model, or making a texture fix throws pixel dirt all over the place? No.
If you can make amazing looking levels, but eat up 99 percent of the resources of the playstation? Folks we need to fit the rest of the game in. Nope. Pass.
Amazing characters but billions of polys and applying for a switch title? Nope. No thanks.