StandArt | Our Standards of Artistic Excellence Chapter III – Textures & Materiality
Published on 13 July, 2021
The Brief is complete, the geometry has been done. We’re now well on our way towards the third step in the asset production pipeline, texturing. We need to create a delicate balance between realism and visual impact. Credibility is necessary, of course, but the next learning step is to understand that accuracy doesn’t always mean visual self-sufficiency. How can we achieve that? No worries, because we’ve got it all covered in our StandArt Chapter III: Textures & Materiality!
Although this balance may seem difficult to obtain and master at first, trust us: it really comes with experience. 😊 The more you texture, the easier it will be to create an asset that is both credible and visually impactful. And, as our 3D artists always say, the more you texture, the more your perspective will change.
Everything can teach us something
A simple subway ride will suddenly become a learning experience. Why? Because we have the opportunity to notice the clothing people wear and the way it interacts with their bodies and the environment. Picture this: you’re on the subway, and you see a woman sitting down listening to music. You notice how her satin dress creases when she sits down, or how it flows when she stands up.
All of a sudden, you have an “eureka!” moment and you realise how the folds on that dress asset you’re working on will look like. Even more, you now turn your eyes to the man that just got on the subway. He’s wearing an old leather jacket and boots, and you can see where the material has degraded the most, and better understand how worn leather decays.
Many people, many faces
We all socialize, in big or small doses. And that’s perfect, because talking to people can also become a way to learn. You look at someone you speak to every day, but suddenly you focus on how their skin creases when they smile. You see how the eyeliner changes the shape of their eyes, even though it’s a bit smudged because they had an itch. But hey, now you also know what smudged eyeliner looks like! You notice what the pores on their face look like and how you can best recreate them on a character asset. And that’s the beauty of it. We notice facial features that we did not pay attention to before, and we take that visual experience and apply it to our work.
We know how important (and fun) this step can be, so we invite you to join us on a journey through Textures & Materiality. We discuss shaders, surfaces, material aging and much more. 😉
Stay tuned for Chapter IV!
“We’ve been very happy to work with AMC: from early stages until the end, they always did their best and reached our standards of quality within tough- and sometimes changing- constrains.”
Ahmed BOUKHELIFA, Producer, EDEN Games
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Rodney LUM, Art Outsourcing Manager, Disney/Propaganda Games
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Vassos SHIARLIS, Studio Outsource Manager, Disney/Black Rock Studio
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Carey CHICO, Executive Art Director, Pandemic Studios/EA
“AMC is a great partner! They always achieve our art quality expectations. They are adapting to changes quickly and deliver on time and budget. AMC’s character art team is top notch and we love the cooperation with the whole team!”
MICHAL DRTINA, OUTSOURCING PRODUCER, HANGAR 13
“We had the opportunity to experience the full potential of long-distance cooperation. We are extremely satisfied with the quality and productivity of our joint work on World of Tanks 1.0. AMC has shown that it is ready to challenge the complexity and tight due dates. Great specialists who know their field and are ready to constantly maintain and raise the quality bar.“
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