Slideandbullettransitionshavenotbeenset.如何培养技术美术设计.ppt

By growing beyond someone who writes simple scripts to skilled group that can create full art pipelines, manage art asset creation and tracking, and generally improve the efficiency of artists we have established ourselves within the industry. Companies want us and understand what we do and why it benefits them. To me this is the biggest accomplishment of the past five years. Instead of being in a reactionary position we are now called upon during pre-production. Back when I started making games in the mid 1990s programmers set how things would work and the artists were just expected to live with those decisions, even having to work long hours to get their work done if the programmers’ choice was a bad one. Now our input is as important as programmers and designers. The programmers and designers will give us specifications for how things should work in the game and we will pipelines, tools and exporters, to allow the artists to focus on art and not have to worry about the technical issues involved in getting their art into the game. We even have the ability to push back against bad decisions and offer up alternative ways accomplish the same goal...ways that won’t be as harmful to the artists. For all we’ve managed to accomplish it looks like we’re not done yet. Each year I host a series of technical artist roundtables at GDC. I’ve noticed some trends appearing that seem to point where technical art is going. Where there used to be “the guy that made scripts” there are now many different types of technical artists. * TAs that specialize in vehicle creation workflows, rigging, physics, and the such. * Technical Animators. TAs that deal solely with character rigging, keyframe animation tools, motion capture, facial capture, etc... * Lighters * Shader authors While we all share the same basic skills and all work to support the art department, we each have different areas of interest. This allows us to provide the highest quality of support possible. Many studios