n this talk given at GDC 2013, art director Matt Nava presents the artwork he created during the development of the game Journey by thatgamecompany. This talk summarizes creative processes, inspirations, challenges, and constraints that were encountered while designing the art direction for this critically acclaimed and award-winning title.
In this 2015 GDC lecture, Naughty Dog’s Damon Shelton explains the design process used to create the motion capture pipeline for the 2013 hit The Last of Us
Ben Regimbal has made this fantastic bustling diorama, that is full of life and lots of mini narratives.
The stylised art direction and the sheer density makes it a real joy to explore.
Regimbal is an art director in Korea who used to work in the Games industry.
Check out more of Ben’s work on his Artstation here:
Photogrammetry has started to gain steam within the Games Industry in recent years. At DICE, this technique was first used on Battlefield and they fully embraced the technology and workflow for Star Wars: Battlefront. This GDC 2016 talk from DICE’s Keneth Brown and Andrew Hamilton covers how they built the technology and process to scan props from the Star Wars films to generate assets for the new Star Wars Battlefront.
Not only did a still from this project win the 2016 Hum3D Car Rendering challenge, but Piotr has created an entire film and breakdown on the work, simply amazing work and dedication.
Through the story of a man shipwrecked on a tropical island inhabited by turtles, crabs and birds, The Red Turtle recounts the milestones in the life of a human being.
Of the five Academy Award nominees in the best animated feature category this year, the sole entry that is primarily hand-drawn is Michael Dudok de Wit’s The Red Turtle.
It’s the first feature directed by Dudok de Wit, whose short films The Monk and The Fish (1994) and Father and Daughter (2000) are widely considered to be contemporary classics. For The Red Turtle, a cross-continental co-production between Japan’s Studio Ghibli and numerous European parties (Why Not Productions, Wild Bunch, CN4 Productions, Arte France Cinema, Belvision Coproduction), the challenge for Dudok de Wit was to maintain his idiosyncratic and minimalist aesthetic while working with a feature film crew.