Game artist research

Research into the roles that interest me in game design
Jamie McNulty
Jamie McNulty was the senior level Artist for the game Bioshock infinite(March 26, 2013)made by Irrational games. He’s familiar with photoshop, 3D max, soft image XSI and more. By being a lead artist it meant that he had to create “Environment composition, lighting and minor scripting on Bioshock, Technical testing”. This led Jamie to go onto becoming the lead environment artist for Bioshock infinite. Which meant that one of his jobs was to create the silhouettes for all of the buildings. Of course this would have been a huge and incredibly hard task due to the city Columbia being so large and detailed, but no doubt be all the more rewarding. Not only this but Jamie had to lead the entire art team and drive them in the direction of his vision. Which in the end turned out to be a beautifully realised 1912 art style of america. 
Here are some early concept art sketches for the building showing notes such as where it is based off and how the gameplay and mechanics can come into play with the environment. Such as the sky hooks being next to the buildings ledge allowing you jump off and attach yourself to it but as the risk of death in case you miss. 
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There is also mention on this sketch of how the player can progress through the building through which door and the ways around it. Another point on here is how it mentions the building aesthetic and how they want it to look. For this one they wanted the buildings to look poor, rundown and dirty due to it taken place in a shantytown.
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Here are some of the building assets for the game in development showing what the buildings will look like in game fully rendered.
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Final version of the game with everything running and working with art work finalised and finished. 
Bioshock image work
On this link you can see how the proxies for his buildings were painted over. I’ll put the images below for reference. This means that once he has finished designing the building the silhouettes, outlines and the important defining shapes and curves. The art team paint over it and bring the building to life with the colour and tones they want to express.
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Scott Everts
Scott Everts is a designer who worked on Fallout new vegas(October 19, 2010) for obsidian entertainment. Scott Majored in in radio/TV/Film and only by chance got asked by a friend if he was interested in working for interplay testing a star trek game. He stayed there for thirteen years and worked on numerous critically acclaimed games such as Fallout(1997), Baulders gate:Dark Alliance 2(January 20, 2004) and over twenty more.
After working for Interplay Scott got a job at Obsidian which allowed him to work on texture/cleanup work on games. After this he moved to making props and maps for Neverwinter night 2 DLC(October 31, 2006). Due to working numerous years at Obsidian it allowed him to move onto the biggest project he had becoming the lead world builder for  fallout New Vegas and all of its DLC’s
For creating props Scott wrote that he used 3ds max for various games and has twenty and more years of  experience in various sectors of the industry, in fact Scott wrote “I’ve been an associate producer, graphic artist, technical artist, technical designer, sound processor, tester; almost every job I’ve done at one time or another” which is no small feat to say the least.
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Pier-Luc Papineau is a Child of light(April 29, 2014) level designer who has a background in 3d open world games. He has worked on numerous games from assassins creed through to 3, prince of Persia games and more all of which are hugely successful game. Which meant that working on a 2d game adds different challenges and unique experiences that you might not get in a 3d game. By mapping out the levels and planing where enemies went and traps where going to be put before hand, they could jump straight into Ubiart framework and start mapping it out right away with one of the benefits being how fast you can build geometry. Of course after the maps have been designed the other departments come in and add the essential layers to the game that make it come to life such as the art, sound and animation etc.
Ubiart framework – designing the level in progress. This shows the traps and enemies which pose a threat to the player. You can see how they have been placed in positions where the player has to go by progress. This therefore gives the game more depth and it seems by the chest placement a risk/reward scenario is their for getting to where the player is stood. Which means the player has to decide whether whatever could be in the chest is worth the risk of dying.
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Another example of the traps and enemies but this time with all the art work and hud design in place.
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https://www.youtube.com/watch?v=7PCSB9XPWVE – Here is a link to The making of child of light part 1(with more on the Ubisoft channel) which offers insight into the different areas of development from the concept, to making it become a reality and designing the levels and characters.
Emilia Schatz

Emilia Schatz is a Co lead game designer working for Naughty Dog which is most notable for creating games such as the Uncharted trilogy, Crash Bandicoot(September 9, 1996) Jak and Daxter (December 3, 2001) and more.

Emilia Schatz started development on uncharted 3(November 1, 2011) and designed various levels such as the Talbot foot chase, french chateau level and more. She also scripts events and set pieces within the game, cinematics and also the geometry of the level layout. I’m very interested in this part of game design creating the levels and the objects within that world. Making the game flow with set pieces and cinematics to progress and advance the story, finding out how to influence and direct the player at the right moment I find to be very interesting.
A picture of the sketches used to ma out how the puzzle is going to work with the arrows representing who the structure can be manipulated in different directions in order to progress.
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A render created by Anthony Vaccaro for uncharted 3. By looking at this I can see how the structure looks without the detail from an art team giving me an idea of how it looks building structures.
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