Sentences with phrase «as texture artists»

It's an advanced position that involves a large amount of industry knowledge and experience, so entry - level graduates generally begin in assistant positions such as texture artists or level designers.

From 2002 through 2005 He worked again as a texture artist at Ion Storm on Deus Ex: Invisible War and Thief: Deadly Shadows.

Later on, she worked as a texture artist for a post-production studio before pursuing further postgraduate education at Stellenbosch University where she gained a BPhil in illustration.

Not exact matches

And examined closely enough, as the scientist and artist Gary Greenberg has, sand can reveal spectacular colors, shapes, and textures.

Playing with textures and natural elements, the wood pallets and rolls of canvas, the artist's loft comes to life as the setting to showcase beautiful high - waisted leather pieces, jackets embellished with faux fur, and airy silk dresses.

«The explosion of colors, scents, tastes, textures, handicrafts and music all had an effect on my development as an artist.»

The artist's influence is articulated through form, texture and crafted detail, as well as vivid prints referencing his designs from the archive at the Henry Moore Foundation.

Note that makeup artists who worked with them recommend us the classic red, cherry, and sweet cherry, as well as allow us to use any textures — from matte to glossy and creamy.

I am a concept artist (as well as textures) for Gearbox.

Different mixed media painting techniques, using glue, string, card, wax, paper to manipulate and to create texture with acrylic paint Looking at famous artists like Jackson Pollock, Frank Auerbach, David Bomberg, John Hoyland and Howard Hodgkin Resources: Acrylic paint, Sponges, sticks, large and small paintbrushes, credit card, string, glue, Punchinella, kebab sticks batik wax, sand, tissue paper, scrap paper and glue guns, Creating a number of different textures with acrylic paint and see what other mixed media layering one can achieve with chalk and oil pastel as well to layer over the acrylic paint.

As a game artist you will learn how to model and texture worlds and characters for games using industry standard 3D tools.

As a result - lighting artists love it, texture artists hate it.

- the game's shading mechanism has changed, which allows for increased gear texture quality - all graphical aspects and programming mechanisms have been built up from scratch for this sequel - maximum resolution is 1080p in TV mode - a bigger focus for Nintendo was the 60 frames per second - occasionally the resolution will be scaled down when there is too much ink displaying on the screen - Nintendo reduced the CPU load and refined the way to use CPU power effectively to maintain 60 fps in all matches - weapons were tweaked to let players be more creative by thinking about unique weapon characteristics and their best uses - weapons are designed to be effective when they are used during the right occasion - Special weapons are stronger than the original ones when used in the right situation, but weaker otherwise - the damage and effect of slowing down your movement when you step in the opponent's ink are reduced from original - you can jump up in rank if you're good enough, but only up until S - you can't jump up from C, B or A to S + - when you win battles in Ranked mode, the Ranked meter fills and your rank goes up when its fully filled - when you lose a battle, the gauge does not decrease, but the meter starts to crack - once the meter reaches its limit, it breaks - when the meter breaks, you have to start over again from the beginning or from a lower rank - highest rank is still S +, but if you fill up the Ranked meter, you get numbers after the alphabet such as «S +1», «S +2» and so on - maximum number is «S +50», but this number will not be displayed to your opponent - you are the only one to see it, and you can check it on your own status screen - Ranked Power is calculated by an algorithm to measure how strong each player is with minuteness - this will determine if a player's rank is worthy of receiving a big jump (like from «C» to «A»)- Ranked Power has no relation to your splat rate, and is more tied into to how well you lead your team to victory - you won't drop off more than one rank even if you play poorly - stage rotation time was changed to two hours - this was done because the devs expected people to play for an hour or so, but they found people play much longer - with Salmon Run, Nintendo considered how to implement a co-op oriented mode in a player - versus - player type of game - the devs will monitor how users are playing this mode to see if there's some tweaks they can throw in - more Salmon Run maps will be added in the future, but Nintendo wouldn't comment on adding more enemy types to the mode - rewards are changed each time Salmon Run is played - you can obtain rewards when playing locally, but not gear - originally Nintendo had an idea for this mode, but had no background setting, enemy designs, etc. - Inoue suggested that it should be salmon - themed - when Nintendo hosted the Splatfest that pit Callie against Marie, the development of Splatoon 2 had started - the devs had already decided to have the result reflected in the sequel - they even had an idea to announce the Splatfest with a phrase «Your choice will change the next Splatoon» - the timing to announce a sequel wasn't right, so they decided against this - they eventually released a series of short stories about the Squid Sisters to show how the Splatfest affected the sequel's story - Nintendo wouldn't say if Marina is an Octoling, and noted that Inklings are not paying attention to this too much - Inklings don't care about appearances, as long as everyone is doing something fresh - the Squid Sisters had composers who produced their songs, but Off the Hook are composing their music by themselves - Pearl is genius artist, but she couldn't find a right partner because she's a bit too edgy - she eventually found Marina as a partner though, and their chemistry is sparkling right now - Nintendo is planning a year of content updates for Splatoon 2 - when finished, the quantity of stages will be more than the original - some of the additional stages are totally new and some will be arranged stages from the first game - not all original stages will return and they are choosing stages based on the potential for them to be improved - Brella is shotgun-esque weapon, so the ink hits your opponent more if you are closer - it can shield damage when you open it, but the amount of damage has a limit and once it reaches it, it breaks - you can shoot ink, but you can't use the shield feature when it breaks - the shield won't prevent your allies ink - there are more new weapon categories which haven't been revealed yet - there are no other ranked modes outside of the three current options - the future holds any sort of possibility, but the devs didn't get specific about adding more content like that - for the modes, they adjusted the rule designs so that players will experience the more interesting aspects

5 + years of experience in developing character models and textures as a Senior Character Artist or Lead Character Artist

Clay has have 10 years worth of game experience as an environmental artist building and texturing assets, and creating game levels.

The original artists at Konami would have built their artwork around this presentation, and the net result is that the HD version is unintentionally compromised as a result - the lack of texture detail in some areas becomes over-exposed in a way that was never intended by Konami's artists, and the game has a pin - sharp, pristine look entirely at odds with the ambience generated by the original release.

DICE 3D modeler and tech artist Kristi Alvarado is celebrating today as she prepares for the launch of Star Wars: Battlefront II, comforted by the knowledge that all of her beautifully - rendered models and textures...

And last but not the least, Supermarine Spitfire Mk.Vb is nearly finished — our engineers are polishing its flight characteristics to make them as close to reference as possible while artists are adding final touches to its cockpit textures.

Kelly Tan, 25, an artist with Streamlines E2D team says she helped with modelling, texturing and colouring the alternate costumes and stages that would become available as DLC (downloadable content).

Crafted from reclaimed materials such as metal, aluminium and plastic, each mobile offers different colours and textures to make up one or two words from inspiring quotes and motivational messages; often borrowed from some of the world's greatest poets, philosophers and even hip - hop artists.

Using color, texture, and myriad geometric structures, these artists forgo mathematical precision in favor of more layered meaning and relate the works as much to landscape, the body, and experience as to their abstract core.

It is a celebration of Stella's collaborative relationship with Tyler and his team over five decades, a collaboration that Tyler describes as standing out from all other artists: «A close look at his printmaking reveals a slow and timid start in the early 60s that culminated into an explosion of scale, colour, texture and bold imagery of The Fountain work.

-LSB-...] don't depict Seal Point but rather are meditations on the ineffable qualities of a place as Walker has experienced it — color, light, motion, shape, texture — recording the narrative of how the artist feels about this special location over the course of changing seasons, months and years.

Untitled III carries over the shift in texture from opaque to virtually transparent tonality in the greys and blues in particular, as if the artist had absorbed the style of Sumi - e brush painting, as for example in the lithograph owned by the Museum of Modern Art, Wah Kee Spare Ribs, 1970, a medium with which de Kooning was preoccupied in the early years of the decade.

While early practitioners such as Robert Mangold embraced a minimal sensibility, the next generation of artists such as Elizabeth Murray and Ralph Humphrey further evolved the practice; Murray's canvases are explosive and energetic, and Humphrey's paintings are tactile, with thick and textured surfaces.

The works of Saville and Fischl, for example, were framed to demonstrate ways that artists can use paint as a stand - in for physicality — pigment and texture as skin and bone.

The minimal aesthetic of these monochromatic works emphasises an elegantly reductive complexity, as the artists use a considered economy of form, texture, and colour to convey or question sophisticated metaphysical or philosophical ideas.

An intriguing exception, at Context, was a 10 - gallery showcase of South Korean artists, all individually compelling and working in mediums ranging from textured painting to layered glass, though so similar in their subtle sensibility that they struck me as a collective, or even, a genre.

The bold color, pattern, and texture of the artist's paintings serve as a metaphor for the complex merging of relationships and cultural backgrounds that contribute to the artist's sense of self.

in particular, which suggests the influence of enveloping installations by American textile artist Sheila Hicks, serves as a reminder of the smallness of human life but also offers its own small revelations through particular textures and tactile delights.

Crosman writes that these paintings «don't depict Seal Point but rather are meditations on the ineffable qualities of a place as Walker has experienced it — color, light, motion, shape, texture — recording the narrative of how the artist feels about this special location over the course of changing seasons, months and years.»

Celacanto Provoca Maremoto is a mural covering four walls, made up of 184 painted canvas panels — white - and - blue squares that recreate original tiles the artist photographed, depicting parts of angels, wings, and other decorative motifs, as well as the texture of cracked tiles.

Artists working in this style do not try to hide what was used to create the painting by smoothing out any texture or marks left in the paint by a brush or other tool such as a palette knife.

The artist's canvases combine oil paint with elaborately textured and printed papers, as well as computer manipulated photographs.

For example, Sherman's ground - breaking Untitled Film Still # 41 (1979), which opens the show and depicts a staged set - up of the artist as a glamorous actress in a striped bathing suit, displays a grainy texture, achieved by accident when the top came off the can of film she was developing.

Of course, as a black artist painting in acrylic, Whitten was always conscious of colour's social resonance, maintained that his lived history necessarily emerged in the texture of his work.

In still life painting, the subject matter is rarely important for its own sake; rather, it most often serves as a showcase for the artist's compositional skill and ability to render detail and texture.

Moran's paintings reflect an intentionally responsive working process: as she paints, the artist reacts to the material itself, shifting or rotating the canvas, reworking textures, and reconsidering the shapes and figures that emerge.

The works in this exhibition show the development during this decade of relationships between flat and textured geometric elements that the artist refers to as «cells», «prisons» and «conduits».

The sturdy froth of color and texture that comprises his images creates a «glancing, immaterial quality,» an impression not of the world as it is, but as it is remembered.1 While the artist finds that «the subject matter of (his) pictures is often established in one sitting,» he may take up to three years to complete a painting, even one as profoundly simple as After Corot (1979 - 1982).2 Hodgkin's process of recollection is related to that of the master mnemonist, Marcel Proust, whose all - over attention did not discriminate between the most significant details of memory and the most obscure.

Using photography as his main medium, Beijing - based artist Ji Zhou's most recent series of works chronicles the daily changes of light, texture, and activity within natural and urban scenes.

Paramount for all three artists was the strong «itch» to experiment with various techniques, as well as a shared consideration of the figure as interwoven into the textured background of a painting.

Bonita Oliver of French Leave and Simone Tyson as Bloodstone will score Smith's nine channel video work, Untitled: Father Daughter Dance (2013 - 2017), live, using voice, meter, pitch, pause, and — as the artists state --» the texture of a weight which resides in the body — after which, just the silence will remain.»

But the most striking characteristic of these paintings is the artist's usage of mixed materials - such as wooden sticks, sand and glass onto the thick acrylic paints - to allow the painting to present a totally different texture from the traditional paintings.

Closing their most recent exhibition On Demand at Berlin's Exile Gallery on July 15, the Lithuanian artists are fascinated by what they describe as «the transformation and interaction of materials, of various elements, rather than by some singular textures or products.»

As time went on, Greenberg's orthodoxy when it came to his bans on figuration and multidimensional texture in painting became ripe for a backlash among artists seeking non-Greenberg-ian ideals.

The architecture, the light, the colors, and the different textures of the space in the building are all compelling subjects, and this piece has pushed my boundaries as an artist, opening up new perspectives on watercolor painting.»

The artist's delight in surface textures and fashion — as with von Bonin's repeated use of Yves Saint Laurent as a touchstone appropriation and material surface in her work — implies a positioning of the dandy in absentia.

The build - up is slowly removed, revealing what lies beneath and once again expressing a reminiscence of the artist's other concerns as the work conveys the infinite range of textures and tones

«Von Allen began his four - decade career as an abstract expressionist artist in the 1970s,» she wrote, noting that he «established a deeply personal style in abstract form and symbolic themes, creating unusual textures in his works with dynamic fields of color and turbulent styles.»