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Shinobi
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very nice, the barn is outstanding
only thing I would suggest is that the graffiti on the door looks kind of like you just put it on a layer and made it partially transparent (I used to write graff for a long time so I always look at that first)... but that's being very nitpicky
overall very nice
only thing I would suggest is that the graffiti on the door looks kind of like you just put it on a layer and made it partially transparent (I used to write graff for a long time so I always look at that first)... but that's being very nitpicky
overall very nice
Dodo
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: O nice ! i really like the house, nice texturing. But like Shinobi said about the graff, ... some of the layer work is a bit obvious, great model/textures none the less ! :thumbs:
-dodo
edit: haha cool Shinobi ! : D another ex street artist on the forum !
-dodo
edit: haha cool Shinobi ! : D another ex street artist on the forum !
Crispy
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I'd probably say there is too much graffiti in such a small space. I dunno what Dodo and Shinobi have to say about this, but I always thought street artists chose prevalent places for their art, preferring pride of place on a mostly empty wall versus having their name lost in a sea of competition.
Also some occasional paint bleed could improve it in addition to more variety on the transparencies of different 'tags' (we call them reaches in London but I don't know if that's a general term).
GL with Blackrock, btw. I know there are a few Brightonians on these forums who might be able to help you settle in.
Also some occasional paint bleed could improve it in addition to more variety on the transparencies of different 'tags' (we call them reaches in London but I don't know if that's a general term).
GL with Blackrock, btw. I know there are a few Brightonians on these forums who might be able to help you settle in.
Shinobi
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I'd probably say there is too much graffiti in such a small space. I dunno what Dodo and Shinobi have to say about this, but I always thought street artists chose prevalent places for their art, preferring pride of place on a mostly empty wall versus having their name lost in a sea of competition.
Also some occasional paint bleed could improve it in addition to more variety on the transparencies of different 'tags' (we call them reaches in London but I don't know if that's a general term).
GL with Blackrock, btw. I know there are a few Brightonians on these forums who might be able to help you settle in.
for the graffiti artsits, it depends what kind you are.. there are many sub-cultures of graffiti
and that wall looks fantastic sir
Crispy
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What I mean is that there is a tendency when adding graffiti to an individual texture (e.g. for a prop or a door) to go overboard and crowd as much graffiti tags onto the texture map as possible.
This isn't really effective for the level designer because it can make the object look out of place in the map. If you have a door with 20 different bits of graffiti crammed into the texture, the walls either side also have to have a high density of graffiti just to fit in.
Yes, this could be achieved in Hammer by throwing a mass of graffiti overlays onto the wall so it matches the door, but this means you're adding work for the mapper and introducing a need for said overlays, and also forcing the map to be more expensive.
So basically I think there is too much graffiti. When making textures its a good idea to have the other team member in mind. A mapper will get more use out of versatile textures with as many uses as possible. In this case the mapper is forced down the 'uber-graffiti' route if he wants to use this door effectively. He has to get some wall textures that match and don't make the door look out of place, but before he does that he first has to design an area to fit this heavy graffiti style.
The social climate will dictate where graffiti is likely to be seen. Under normal conditions, graffiti is against the law and there are policies in place to remove graffiti and punish anyone caught vandalising. What this means is that it is usually done at night, and generally not in open, busy spaces. A more cautious artist may even prefer to do it away from street lighting and in a location with multiple escape routes should he get caught in the act (this is probably more of a subliminal thought process). Under Orwellian conditions (i.e. a police state), there would be very little graffiti at all because the policing authorities are granted more power and numbers to prevent even minor crimes that undermine the state's control. If society were in a state of total anarchy (e.g. a post-apocalyptic scenario or drawn-out civil war) there would be little to stop people from scrawling over all the walls, even shop fronts and public buildings would be a viable target for graffiti.
Let's assume the texture was made for a scenario taking place under today's conditions, as a level designer I have to interpret this concept of game into everything produced in the interests of authenticity. If I had to work with this texture, I'd pretty much be forced to put it in a very remote area of the map, where it's dark and probably deserted considering the sheer amount of graffiti on the door. It couldn't really be used in an open space or anywhere very close to a busy area. This means that instead of the mapper having the freedom to use the texture as a tool to accomplish his job, the texture is dictating to the mapper that it must be used for a very specific location, something like an underpass or a derelict building.
Remove most of the graffiti so you're left with just a few items to grunge it up a bit (and remove the newspaper behind the glass), and it's a different story for the mapper. The door could now be used on a building on a minor road or many other similar types of setting. I know this was a competition piece so maybe practicality wasn't your goal, but just this small design change can open up so many more options to the level designer.
This isn't really effective for the level designer because it can make the object look out of place in the map. If you have a door with 20 different bits of graffiti crammed into the texture, the walls either side also have to have a high density of graffiti just to fit in.
Yes, this could be achieved in Hammer by throwing a mass of graffiti overlays onto the wall so it matches the door, but this means you're adding work for the mapper and introducing a need for said overlays, and also forcing the map to be more expensive.
So basically I think there is too much graffiti. When making textures its a good idea to have the other team member in mind. A mapper will get more use out of versatile textures with as many uses as possible. In this case the mapper is forced down the 'uber-graffiti' route if he wants to use this door effectively. He has to get some wall textures that match and don't make the door look out of place, but before he does that he first has to design an area to fit this heavy graffiti style.
The social climate will dictate where graffiti is likely to be seen. Under normal conditions, graffiti is against the law and there are policies in place to remove graffiti and punish anyone caught vandalising. What this means is that it is usually done at night, and generally not in open, busy spaces. A more cautious artist may even prefer to do it away from street lighting and in a location with multiple escape routes should he get caught in the act (this is probably more of a subliminal thought process). Under Orwellian conditions (i.e. a police state), there would be very little graffiti at all because the policing authorities are granted more power and numbers to prevent even minor crimes that undermine the state's control. If society were in a state of total anarchy (e.g. a post-apocalyptic scenario or drawn-out civil war) there would be little to stop people from scrawling over all the walls, even shop fronts and public buildings would be a viable target for graffiti.
Let's assume the texture was made for a scenario taking place under today's conditions, as a level designer I have to interpret this concept of game into everything produced in the interests of authenticity. If I had to work with this texture, I'd pretty much be forced to put it in a very remote area of the map, where it's dark and probably deserted considering the sheer amount of graffiti on the door. It couldn't really be used in an open space or anywhere very close to a busy area. This means that instead of the mapper having the freedom to use the texture as a tool to accomplish his job, the texture is dictating to the mapper that it must be used for a very specific location, something like an underpass or a derelict building.
Remove most of the graffiti so you're left with just a few items to grunge it up a bit (and remove the newspaper behind the glass), and it's a different story for the mapper. The door could now be used on a building on a minor road or many other similar types of setting. I know this was a competition piece so maybe practicality wasn't your goal, but just this small design change can open up so many more options to the level designer.
Stormy
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Truth be told the project was more about the texture then anything. I did the model an unwrap in around an hour but with modo which is a program im very unfimilier with so there was a lot of farting around and pressing shortcuts that broke things!
I have been looking to see how people produce rocks/cliffs at work and its really intresting. The colour map is just colour, no detail going on there at all but all the detail just comes from the normal map. It works really well and it was good fun playing around with it =D
I have been looking to see how people produce rocks/cliffs at work and its really intresting. The colour map is just colour, no detail going on there at all but all the detail just comes from the normal map. It works really well and it was good fun playing around with it =D
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