Futuregames Warsaw’s Post

There are 287.000+ Digital Visual Artists in USA alone, 68.000 on LinkedIn. What do these Game Artists do though? Game Art is crucial in every game. WHY? Because they make EVERYTHING you see on screen. Working in every aspect of the game; From idea to design, and to development. Here are some of the titles and what they do: ✦ Art Director ↳They decide how the game should look and feel,  ↳Oversees the visual style of the game. ✦ Concept Artist ↳They draw ideas of in game assets and how they should look like before anyone makes them. ✦ 3D Artist  ↳They make the characters and worlds in the game  look like real 3D objects you can walk around. ✦ Animator ↳They make characters and objects move. <insert I like to move it move it 🎵 song here> ↳Animators bring characters and assets to life. ✦ Technical Artist ↳They make sure the game runs fast. ↳Act as a bridge between art and programming. ✦ UI Artist ↳They design the buttons and menus you interact. ↳Responsible from all the navigation assets in game. Also, a Game Artist in a small studio does a bit Of all of the things above and BEYOND. Tag your favorite game artist! Cheers! PS: My favorite game artist is a close friend of mine and he is a game master for table top role playing games in Warhammer Universe! #gamedevelopment #art #digitalart #videogames #gameart #gamedesign

🚨 Kaedim3d.com is HIRING 🚨 Send resumes to [email protected] Game development is no longer just a one-man show – or even a one-studio spectacle. The seismic size of games these days means that the crafting of fantastical, virtual realms is easily a multi-team endeavour. Fortunately, developers can turn to partners, such as external developers, to realise their most ambitious projects. One rapidly growing model is external development, which sees a studio turn to one or more companies to assist with game creation. In particular, a specific flavour of external development is end-to-end development, which sees an external company oversee an entire segment of a project. “End-to-end is, in a nutshell, when an external developer takes on a large portion, or the whole pipeline, of the game development process,” says Mike Sherak, Virtuos’ assistant director of co-development success. “This can include concept, model, rigging, animation, VFX, lighting, character animation delivered in-engine, and more.” Read more⭐ The world's best game studios ship 7x faster with Kaedim3d.com - try it today to turn sketches into game assets in minutes

🚨 Kaedim3d.com is HIRING 🚨 Send resumes to [email protected] Game development is no longer just a one-man show – or even a one-studio spectacle. The seismic size of games these days means that the crafting of fantastical, virtual realms is easily a multi-team endeavour. Fortunately, developers can turn to partners, such as external developers, to realise their most ambitious projects. One rapidly growing model is external development, which sees a studio turn to one or more companies to assist with game creation. In particular, a specific flavour of external development is end-to-end development, which sees an external company oversee an entire segment of a project. “End-to-end is, in a nutshell, when an external developer takes on a large portion, or the whole pipeline, of the game development process,” says Mike Sherak, Virtuos’ assistant director of co-development success. “This can include concept, model, rigging, animation, VFX, lighting, character animation delivered in-engine, and more.” Read more ⭐ The world's best game studios ship 7x faster with Kaedim3d.com - try it today to turn sketches into game assets in minutes

🚨 Kaedim3d.com is HIRING 🚨 Send resumes to [email protected] Game development is no longer just a one-man show – or even a one-studio spectacle. The seismic size of games these days means that the crafting of fantastical, virtual realms is easily a multi-team endeavour. Fortunately, developers can turn to partners, such as external developers, to realise their most ambitious projects. One rapidly growing model is external development, which sees a studio turn to one or more companies to assist with game creation. In particular, a specific flavour of external development is end-to-end development, which sees an external company oversee an entire segment of a project. “End-to-end is, in a nutshell, when an external developer takes on a large portion, or the whole pipeline, of the game development process,” says Mike Sherak, Virtuos’ assistant director of co-development success. “This can include concept, model, rigging, animation, VFX, lighting, character animation delivered in-engine, and more.” Read more ⭐ The world's best game studios ship 7x faster with Kaedim3d.com - try it today to turn sketches into game assets in minutes

Embracer Group acquired Pieces Interactive in 2017 for $265,000 (roughly), describing the deal as a “long-term commitment in the studio”. Hypocritically, Pieces Interactive AB, a THQ Nordic studio, was shut down by parent company Embracer Group after 17 years of creating more than 10 titles. The studio’s (Pieces Interactive) latest creation was the remake of the OG “Alone in the Dark,” with renowned actor David Harbour as the MC, who we all know as "Officer Hopper from Stranger Things." Despite a star-studded cast of actors in the video game, Embracer pointed out that Alone in the Dark delivered a ‘softer-than-expected performance’ in its latest fiscal report, and less than a month later, the studio is gone. Embracer acquired Pieces Interactive during the recent era of mass expansions and big mergers when it set out to acquire eminent studios. But lately, game developers are getting caught up in the middle of this acquisition shitshow between the big guns. It's the game devs who are facing the worst of life compared to the top brass who face loss in pennies. So, in support of the developers at Pieces Interactive, this is a shoutout dedicated to them. Richard Andersson — Pieces Interactive’s senior Programmer who has been with the studio for over a decade. Richard had worked on the studio’s hit titles Magicka 2 and Kill to Collect. Lena Envall — A talented Animator & Rigger who has worked with Pieces Interactive for over 8 years. Lena had worked on Alone in the Dark, Titan Quest: Ragnarök & Atlantis, and Kill to Collect with her top-notch rigging skills. Anton Ehn — In his time of 6+ years with the studio, he was a 3D Environment Artist for Alone in the Dark, Titan Quest: Ragnarök and Atlantis. Before Pieces Interactive, he was the co-founder of Rocket Hammer (now Brimstone Games) and a part of building their game called “Lance a Lot”. Gizela Wikström — A Technical Artist for Pieces Interactive who started her journey in the studio as a QA intern. Gizela’s last project was Alone in the Dark, and you should definitely check out her XP to learn about her life’s impressive story. Gustav Pethrus — Here is a young 3D Character Artist with promising skills and talent in Maya, ZBrush, Substance Painter, Digital Sculpting, and 3D Modeling. Gustav also has extensive experience in character art production. Helena Esborn Hejendorf Hansen — One of the QA Analysts for Pieces Interactive, who was working on Alone in the Dark. Interestingly, she is also a Technical Character Artist, and you can check out her work here: https://lnkd.in/gDcAUMh8 #layoffsupport

🚨 Kaedim3d.com is HIRING 🚨 Send resumes to [email protected] Game development is no longer just a one-man show – or even a one-studio spectacle. The seismic size of games these days means that the crafting of fantastical, virtual realms is easily a multi-team endeavour. Fortunately, developers can turn to partners, such as external developers, to realise their most ambitious projects. One rapidly growing model is external development, which sees a studio turn to one or more companies to assist with game creation. In particular, a specific flavour of external development is end-to-end development, which sees an external company oversee an entire segment of a project. “End-to-end is, in a nutshell, when an external developer takes on a large portion, or the whole pipeline, of the game development process,” says Mike Sherak, Virtuos’ assistant director of co-development success. “This can include concept, model, rigging, animation, VFX, lighting, character animation delivered in-engine, and more.” Read more ⭐ The world's best game studios ship 7x faster with Kaedim3d.com - try it today to turn sketches into game assets in minutes

🚨 Kaedim3d.com is HIRING 🚨 Send resumes to [email protected] Game development is no longer just a one-man show – or even a one-studio spectacle. The seismic size of games these days means that the crafting of fantastical, virtual realms is easily a multi-team endeavour. Fortunately, developers can turn to partners, such as external developers, to realise their most ambitious projects. One rapidly growing model is external development, which sees a studio turn to one or more companies to assist with game creation. In particular, a specific flavour of external development is end-to-end development, which sees an external company oversee an entire segment of a project. “End-to-end is, in a nutshell, when an external developer takes on a large portion, or the whole pipeline, of the game development process,” says Mike Sherak, Virtuos’ assistant director of co-development success. “This can include concept, model, rigging, animation, VFX, lighting, character animation delivered in-engine, and more.” Read more ⭐ The world's best game studios ship 7x faster with Kaedim3d.com - try it today to turn sketches into game assets in minutes

See how talented Cinematic Director and Artist Alireza Fattahi got into art in this #80LevelStory. "Growing up in a strict country where access to foreign movies was limited made life tough for someone like me who dreamed of making films. But amidst the dull local TV shows, I caught glimpses of Terminator 2 and Batman cartoons, and those moments stuck with me. As I got older, I discovered another passion: video games and their cool cinematic scenes. Watching them was like a reward for playing the game. I was especially drawn to Blizzard's Warcraft cinematics. This got me interested in animation, and I started playing with 3ds Max and Maya in 2002 to make simple animations. I realized I needed to make a living, so I chose archviz rendering as a more stable career path. After college, where I studied software engineering (and absolutely hated it), I continued creating archviz projects with animation in mind. Slowly, I transitioned into story content creation, mainly for national television, from animated shorts to large-scale animated shows. I ended up winning some awards in different Iranian festivals. Simultaneously, I began exploring real-time tech out of frustration with long render times. I fiddled with Unreal Editor in '98 to create simple levels, never expecting it to become my primary animation tool later. Gradually, I caught the attention of game studios. After years of working in different CG roles, from VFX to industrial animations, I finally found my footing. In the gaming world, big studios like Blue and Digic usually control cinematics. But now, thanks to tools like Unreal Engine and MetaHuman, smaller teams can compete too. With just a small team of animators, riggers, modelers, and simulation artists, we can produce great artwork in a fraction of the time and budget. While we may not compete in terms of sheer quality with industry giants like Blur or Blizzard, not everyone requires that level of excellence. One day, I decided to pursue my childhood passion project: a Batman short film. Initially, I created a one-minute version using stock assets and motion capture. I didn't plan to continue, but the positive response pushed me to start anew, with a plan for a proper short film with a compelling story and high-quality assets. I reached out to several Iranian artists, and we started bringing our vision to life. We released trailers and vertical slices, attracting attention of various artists, even high-profile ones from DreamWorks. Our project gained traction on CG websites as well as in comic and movie news circles. I'm thrilled to have found the tools, friends, and the right community to pursue my dream of creating narrative content based on our stories and heroes." If you'd like a chance to share your story and inspire other artists, join 80 Level Talent: https://lnkd.in/dsKJqDQm You can find Alireza's works here: https://lnkd.in/dHqG5SfF

Games Org Support Post #91: Deck Nine Games #2 (Due To Many New Candidates) Dear Friends, I'm thrilled to spotlight the incredible talent at Deck Nine Games, a group of 27 outstanding individuals gearing up to make their next big move in the games industry. This effort is all about shining a light on their hard work and achievements. We're rallying your support to SPREAD THE WORD and create buzz throughout the gaming community! Below, you'll find detailed information on each team member, organized by their area of expertise, position, and years of experience. For further details, a huge shoutout to Alice C. for compiling this with the team. Visit the following link for more: https://lnkd.in/eJHg5izD Art, Animation, and Cinematics - Jordan Brantner, 3D Animator, 8 years of experience - Phillip Hall, Animator, 20 years of experience - Biko Pouncy, Animator, 7 years of experience - Devin Dixon, Lighting Artist, 4 years of experience - Jaeseok kwon, Environment Artist, 24 years of experience - Jason Merck, Art Director, 24 years of experience - Ron Velasco, Concept Artist, 26 years of experience - Jose Villafranca, Senior Character Artist, 8 years of experience - Sasha Krieger Ristic, Character Artist, 12 years of experience - Sergy Olkowski, Cinematic Designer, 5 years of experience - Scott Fronapfel, Technical Artist, 11 years of experience Narrative and Writing - Alice C., Senior Staff Writer, 9 years of experience - Mallory Littleton, Lead Narrative Designer, 7 years of experience - Deandra Warrick, Lead Writer, 8 years of experience - Alex Wilson, Narrative Director, 20 years of experience Programming and Engineering - Ryan Copeland, Programmer, 10 years of experience - William Fowler, Unity C# Programmer, 10 years of experience - Gabriel Valdes, Tools Programmer, 4 years of experience - Josh Stefanski, Lead Tools Programmer, 17 years of experience Production - Theodore Linder, Technical Producer, 5 years of experience Quality Assurance - Abigail Markish, Tools QA Tester, 1 year of experience Level Design - Baqir Shah ➡️ GDC, Lead Level Designer, 11 years of experience - Josh Sweeney, Level Designer, 10 years of experience Motion Capture - Chris Sampson, Mocap Tech, 6 years of experience - Josh Wraa, Mocap Tech, 4 years of experience Office Management - Cira McAloon, Office Manager We need your support, whether that's by offering job opportunities, making connections, offering mentorship, or simply sharing this post - every bit helps. We greatly appreciate those who can get involved as mentors, CV/LinkedIn reviewers, or mock interviewers. Visit amirsatvat.com both to sign-up to help others and to access all 14 of our community games jobs resources, now including a new addition this week. These resources have successfully enabled job opportunities for over 1,600 gamers and have provided nearly 25,000 free community coaching sessions.