Feature

The Kevuru Games team has told us how their Weapons Department approaches the creation of realistic weapons, explained why it is more difficult to model sci-fi than realistic weapons, and shared why artists themselves visit a shooting range and learn to shoot.

The Heroic team has walked us through the multi-pipeline production process behind the Ezra and Evil Fog trailer created for a 2D arcade game Merge Dragons.

Íñigo Cebollero shared a short breakdown of the Worn Phone Booth Telefonica, spoke about decal techniques that he used, and discussed the challenges of texturing work.

Zachary Allen shared a short breakdown of the BMW R9T Scrambler Motorbike project, spoke about his creative approach to making game assets, and gave some tips on preparing for building complex models.

Jean Pierre Vargas has shared a comprehensive breakdown of the Favela Diorama project, explained how the props for the scene were modeled and textured, and showed how the environment's true-to-life visual style was achieved.

Malte Resenberger-Loosmann showed the working process behind the ponytail hairstyle, shared the scene setup in Maya and Unreal Engine, and explained how GS CurveTools helped create realistic hair.

The Inworld AI team has published an informative report that will help studios of all sizes navigate what to focus on when it comes to their efforts to upgrade NPCs in their games.

Ethan Clark, a recent graduate of the Gnomon School of VFX, shares some of his workflow and secrets for creating a stylized atmosphere for his latest project, the dreamy Palia House.

Andrei-Mihai Bejan shared his workflow behind the Elden Malone project, gave a few tips on how to improve your texturing, and discussed the importance of lighting in creating and showcasing a character.