I can make the characters as beautiful as humanly possible, but if the game doesn't run it's all for naught. If you're not mindful of the way you're handling your systems and art assets, these calculations can quickly get out of hand and interfere with the players' game experience, whether it be lag, lowered frame rate, game crashes, or any number of other problems. For those who may not have experience with the inner-workings of game development, this means the game engine is gathering all information from the player (inputs to your gamepad or mouse/keyboard), as well as anything else happening at the same time (physics, graphics, animation, etc.), calculating all these interactions, and rendering all the results on your screen, 60 times every second. For example, most modern games strive to maintain a runtime speed of 60 frames per second. Games, though constantly evolving, still come with a fair amount of restrictions. As I mentioned before, each character tends to be unique in its creation process, but one aspect all of them share is the need to find a balance between form and function. Once I'm happy with the feel of the character, it's time to switch gears. Since I'm not concerned about restrictions, I tend to go back and forth between Zbrush and Photoshop, sculpting in high resolution and comparing to the concept as I go.ДЄn early, high-poly pass on the Robot model in Zbrush. My goal is to make sure the 3D version looks and feels as much like the 2D concept as possible, while still maintaining the physicality of an object in three dimensions. At this stage I'm not worried about any technical limitations, but instead focus on major design elements: silhouette, exaggeration of important features, overall aesthetic appeal, and so on. The first pass is centered entirely around trying to nail down the feel of the character. When it comes to actually constructing the model, I tend to make two general passes. The design David came up with already provided so much definition, so my task became ensuring that as much of the character as possible was maintained when transitioning from 2D to 3D. For example, the Robot's large torso, shoulder pauldrons, and hands exude strength, but his color scheme and wide, green eye belied a nature that is more curious than menacing. The exaggerated nature of our game's art style was utilized in the Robot's design to push the traits of his character. How do his leg joints connect? What are the extents of his movement range? What material is this made out of?The discussion continues until we all feel like we're on the same page, at which point it's time to dive into production. Upon receiving the concept, I sat down with our art director, animator, and lead designer to get an overview of the character and specific needs for the model. Here at AtomJack, we're a pretty small, tight-knit group, which makes it much easier to throw ideas around and come to a consensus on things. I'm lucky enough to be working with some pretty talented folks here, so the concept I was given by our art directorВ was already imbued with a ton of appeal. Other times, though, you may just be given a rough sketch, and your teammates are looking to you to pour your own influences into filling in the details.

Depending on who you work with, sometimes your art director gives you a fully completed concept like I had for our Robot. This particular model started with a pretty clear-cut concept, and even before then a well established outline of what we wanted the character to be. So I wanted to share with you all an overview of the process by which I brought our Robot from 2D concept to 3D asset. Similar to people in our everyday lives, each character has its own unique quirks, presenting its own set of challenges and puzzles to solve. One of the many reasons I enjoy making character models is because the process is a bit different each time.

Topogun vs 3d coat