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Issue 45 3D Art Direct Cover

Read Issue 45 of 3D Art Direct Magazine : 3D Gaming Graphics

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Issue 45 3D Art Direct Cover

 

72 pages of vivid inspiration

This special issue of 3D Art Direct has a focus on real time 3D graphics in gaming.

PETER JOHANSSON

3d Art Direct interviews the Art Director at Expansive Worlds about his work on directing the game The Hunter.

AVALANCHE ENGINE

“If my math is correct, our current hunting reserves combined would cover an area of a little over 43 square miles in real life. The world map as a whole is 1024 (32 by 32) square kilometres, or 636 square miles. In theory we could have only one hunting reserve without any borders, covering all that map space, rather than several smaller ones. But of course there are many practical and technical reasons why we choose to break the world up into smaller pieces.”

ARTHMOOR from UNIQUE LANDSCAPES

3d Art Direct talks to Arthmoor, from the massive Unique Landscapes mod project for Elder Scrolls: Oblivion.

BETHESDA GAME ENGINE

“I am currently doing programming, Quality Assurance, and some level design for the Windows PC game Witanlore: Dreamtime.… Read the rest

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Encounter a cornerstone digital artist: Chuck Carter – illustrator for Myst

 

Chuck carter originally wanted to be an astronaut, but with maths skills sorely lacking, he switched to art and eventually digital arts when the medium became available.
He was one of a small community of Mac users in the late 80s that were exploring the new frontier of digital arts, including Kai Krause. Chuck is most well known as being one of the illustrators for Myst, a landmark graphical adventure game that sold in the millions. His focus is now on the production of interactive worlds for children which will be delivered via the iPad.
Read the full interview in the September edition of 3D Art Direct.

Myst lives on as an open source on-line game at mystonline.com

3DAD:  Thomas and John Knoll brought out Photoshop version 1.0 in the late 80s – it must have been quite an interesting early community of artists back then, being that John Knoll worked for Industrial Light and Magic. Did you get involved with this early community – who were some of your peers at the time and what did they work on?

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