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Texture style development

Last year I’ve been working on a nice little browser game, which was released some time ago. It’s called “The Big Catch”. I played it for a few hours, and have to say that it’s nice light entertainment, and can be real fun if you are into fishing and familiar with the routine. For this purpose I created various low-poly 3D-game assets and environments, which you can see in the game. I modeled the objects and, with directions and help from the studio I did the freelancing for (http://www.polygonfabrik.de) I developed a comic-like, easy-on-the-eyes texture style for the environment. Creating a distinct texture/shader style for a game, a short movie or just a still rendering is one of the most interesting and exciting processes for an artist. I decided to write about it because that’s part of what I do on my current job. There have been written countless books about the technical aspects of applying textures to objects, about shader programming and brush painting, and making photographs tileable. But before all that, there are various other steps to take until you can really get down to work. It always helpful to ask yourself the following questions during the creative process: How […]
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“The steady advancement of computer graphics, and par ticularly of real-time rendering technology, is the reason for major improvements in 3D-graphics used in interactive entertainment. The visual representation of a game is an important part of the “gameplay-gestalt” – which means a player’s complete gaming experience. Digital lights and shadows contribute significantly to the expressive value of graphics in a game. The lighting-process of a level for a next-gen game can take up to a few months because the interactive nature of a game creates very different conditions for lighting than other media. Nevertheless, a well-lit environment can considerably improve a game’s immersive quality, which is crucial for the player’s “aesthetic experience”. In a state of complete immersion, that involves concentration and mental undistractedness, a game will evoke the player’s emotions, which is a very high objective for game development. Entrancing the viewer has also been a goal of painters for hundreds of years. Light in painting has been used to create the most stunning masterpieces in history, so this thesis makes an approach of exploring the phenomena of light and shadow in painting and applying them to today’s ar tistic challenges in simulated illumination for games. A thorough knowledge of historical and technical backgrounds of painting and game-lighting creates the foundation for a differentiated […]
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