There can be a substantial difference between what an artist sees in the actual game on a screen vs. A color scheme should be chosen complementary, monochromatic, split-complementary, etc. In some cases, a game may use several palettes for different environments, or even types of objects such as a specific color to define some gameplay functionality.
Regardless, all this information should be communicated in the texture guide. Effective storytelling is one of several reasons a player can become immersed in a game. The visuals play an important role in this, especially the textures. For example, if a game takes place in a post apocalyptic setting, the textures could convey this through weathering, damage, and aging, while the colors might be darker and more dreary to set the mood.
In addition to the high-level story or setting, an individual texture should have its own story. What materials it is made of? How old is it? Did anything interesting happen to it recently eg. How does it relate to the setting and larger story? All of this information should be conveyed within the texture guide to help with consistency.
This can break the immersion and potentially disengage the player from a game altogether. A texel is a pixel of a texture.
Texel density describes how many texels cover a certain distance. An optimal texel density helps maintain visual consistency, performance, and texture memory usage.
To define the optimal texel density for a game, the following questions must be collectively taken into consideration:. Does the style or a performance requirement dictate texture resolution? Minecraft is a perfect example where both the style and performance choice was made to use lower resolution textures. The higher the resolution, the higher texel density you will need unless there is a conscious choice to make lower resolution textures.
A game being created for a variety of platforms such as tablets, smart phones, consoles, and computers , can complicate things. If that is the case, it may be wise to have platform-specific texture rules to automate the process of re-sizing texture resolutions for these platforms.
This never gives the best quality output, but the production time trade-off is well worth it when dealing with large amounts of textures and multiple platforms.
How close will the player get to the texture in-game? Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. A perfect and direct starting point for a beginner game texture artist "The Dark Side of Game Texturing" is also an excellent reference for intermediate artists, or for those who want to further their digital art skills.
Learn how to create game textures similar to the eerie, sinister, and ominous textures seen in great video games like Quake, Unreal, Half-Life, and Return A perfect and direct starting point for a beginner game texture artist "The Dark Side of Game Texturing" is also an excellent reference for intermediate artists, or for those who want to further their digital art skills.
Learn how to create game textures similar to the eerie, sinister, and ominous textures seen in great video games like Quake, Unreal, Half-Life, and Return to Castle Wolfenstein. You'll learn how to create decals like bullet holes, blast marks, signs, and more. Sprites such as lightning, fires, and explosions are also covered. Focusing on a topic rarely covered in other 3D graphics books, this is an ultimate hands-on guide to creating totally cool game textures that directly reflect the nature of many recently released video games.
Get A Copy. Paperback , pages. Kumar has trained more than 50, students across the globe from countries top five: India, Germany, United States, Spain, Australia. Skip to main content Skip to table of contents. Advertisement Hide. This service is more advanced with JavaScript available.
Authors view affiliations Abhishek Kumar. Front Matter Pages i-xviii. Pages Graphics in the Game Industry. Texturing Workflow. Texturing Games vs.
Now we have created the canvas I will copy the texture over and we will see how it looks without any editing or manipulation. Firstly we want to adjust the lighting information, this will help normalize the peak and troughs through out the texture and will help in getting rid of the shadows around the outer areas of the by texture.
You want to increase the radius of the filter to 70 this should give your best result, but feel free to mess about with the radius to see the varias effects it has on your image. Side by side you can see the effect it has on the image it has taking out light the differences and made the textures more consistent across the board.
The only thing is using the highpass filter has de-saturated the image slight getting rid of some of the color contrast that existed in the original image.
This will bring back the color values from the original without having the differences with the light values. Now we have some of the color information back in the image it looks like wood again, you can add more color using a color overlay more on that later.
To improve the clarity of the texture we can also add some more contrast you can get to this through the image menu:. Now if we take the texture back to our larger canvas and loop the texture again we should get an overall better looking result.
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