Thank you guys!!! That mean a lot to the RAD Team. There has been so many awesome art dumps here at Polycount and we keep telling our self that someday in the future will be able to show what we are been working for so long. That time its here.. Enjoy!!!!
The Game is really inspiring, watched some playthroughs and was really tempted to continue watching the campaign which is rare, feels really masterfully crafted
Amazing art! Really enjoyed the game. You folks outdid yourselves! I'm looking forward to a sequel so I can spend more time in the world you've created.
Fantastic work all around and congratulations on the release! It's great to see everyones hard work. I know I've spent tons of time already staring at walls and floors in the game.
You have all set the bar really high for the rest of us. I look forward to seeing what everyone does next.
Sorry I'm late to the party. To start off, I gotta give credit where credit's due! Simply put, this team that we have is amazing, and the talent level of these guys is through the roof! I pale in comparison to them. My thanks to all of them for helping me grow and become better at my craft. Special thanks to Nathan Phail-Liff, Anthony Vitale, Juan Hinojosa, Joe Studzinski, Steven Wen, Mike Sekowski, Tobi Kwan, Sean Weronko, Brett Dixon, Joe Ferfecki, Arin Robinson and Derek Hise. I pretty much worked with these guys on a daily basis, and couldn't do my job without them!
As the main prop artist, I made weapons, gadgets, and vehicles(including horse harnesses). There was a lot of research and back-and-forth dialogue with the concept team that went into making each asset. It was painstaking, but very rewarding, knowing that we made these assets as accurate as we could.
Textures were crafted by Scot Andreason, Jo Watanabe, Brandi Parish, and Yibing Jiang. I'm always in awe at how beautiful they make my art look.
Pretty sure we can all agree that this is definitely one of the most epic art dumps on Polycount to date in both size and quality. Amazing work guys. wish there was an "add entire library of images in thread to inspiration folder" button.
This thread is full of awesomeness! I love those weapons and they feel like they could exist in real-life. The immersion is real! Can´t wait to test the game out.
I would like to know what kind of workflow did you use EMcKown for those vegetations.
So much amazing art... You all have convinced me to go get the game just so I can oggle things in situ
For those that want to save all images in one go, save the whole webpage as html and you'll get all the images automatically. Then you can move them from wherever you saved the webpage to a proper reference folder.
Amazing work guys, I'm just in awe when playing the game and taking hundreds of screenshots. Motivates me to keep working on my skills and have some new goals. Was kind of lost for a while about what I want to do.
Also kudos to your lighting team.
About the process of texturing your work, for the environments I guess you simply vertex blended different Textures together and for props if I remember correctly I saw in an article you used Mari? I wonder how good it is. Will you keep using it in future projects?
It looked pretty powerful to me but it seems it's still pretty unused in the industry.
This thread is full of awesomeness! I love those weapons and they feel like they could exist in real-life. The immersion is real! Can´t wait to test the game out.
I would like to know what kind of workflow did you use EMcKown for those vegetations.
My workflow was pretty much research > textures > leaf or flower models > trunk models if applicable > placement
I used photoshop and zbrush for the texture creation, maya to create leaf/branch/trunk mesh, and maya for putting the plants together - except the trees where I used SpeedTree to propagate leaves. I'm a big foliage geek, and I like to have a lot of control over how it looks
Amazing work guys, I'm just in awe when playing the game and taking hundreds of screenshots. Motivates me to keep working on my skills and have some new goals. Was kind of lost for a while about what I want to do.
Also kudos to your lighting team.
About the process of texturing your work, for the environments I guess you simply vertex blended different Textures together and for props if I remember correctly I saw in an article you used Mari? I wonder how good it is. Will you keep using it in future projects?
It looked pretty powerful to me but it seems it's still pretty unused in the industry.
Mari was used for props and character texturing. Environment textures we used zbrush/photoshop together with a common library and composited materials together to achieve a more accurate result.
Replies
So much awesomeness, amazing job guys!
(No really, this is some inspiring stuff. Thanks for sharing.)
Edgar A. Martinez
Senior Environment Artist
https://edgar_a_martinez.artstation.com/
You have all set the bar really high for the rest of us. I look forward to seeing what everyone does next.
It's so pretty!
I'll ask them
As the main prop artist, I made weapons, gadgets, and vehicles(including horse harnesses). There was a lot of research and back-and-forth dialogue with the concept team that went into making each asset. It was painstaking, but very rewarding, knowing that we made these assets as accurate as we could.
Textures were crafted by Scot Andreason, Jo Watanabe, Brandi Parish, and Yibing Jiang. I'm always in awe at how beautiful they make my art look.
Enjoy!
James
Senior Prop Artist, Ready At Dawn Studios
https://jamestran.artstation.com/
Thanks for sharing
I would like to know what kind of workflow did you use EMcKown for those vegetations.
When I look at this great works I became feeling myself like this....
every one answer here!
thanks
For those that want to save all images in one go, save the whole webpage as html and you'll get all the images automatically. Then you can move them from wherever you saved the webpage to a proper reference folder.
I'm curious, how would you go by detailing the brick trick on the walls? For example, in this image, the white brick on the walls:
Have you masked out certain parts, or is it just geo and you've assigned a diff mat to it?
Oh, it's just separate geo with 2 different materials.
Also kudos to your lighting team.
About the process of texturing your work, for the environments I guess you simply vertex blended different Textures together and for props if I remember correctly I saw in an article you used Mari? I wonder how good it is. Will you keep using it in future projects?
It looked pretty powerful to me but it seems it's still pretty unused in the industry.
My workflow was pretty much research > textures > leaf or flower models > trunk models if applicable > placement
I used photoshop and zbrush for the texture creation, maya to create leaf/branch/trunk mesh, and maya for putting the plants together - except the trees where I used SpeedTree to propagate leaves. I'm a big foliage geek, and I like to have a lot of control over how it looks
Mari was used for props and character texturing. Environment textures we used zbrush/photoshop together with a common library and composited materials together to achieve a more accurate result.