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The Code/Art Divide: How Technical Artists Bridge The Gap
 
 
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Features
  The Code/Art Divide: How Technical Artists Bridge The Gap
by Jason Hayes
15 comments
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August 20, 2008 Article Start Previous Page 2 of 3 Next
 

Pipeline and Systems Architect

Generally speaking, the technical artist should be able to design and develop all art pipelines necessary for the game. In this sense, part of the technical artist's role is to be a pipeline and systems architect. At Volition, this works on a few different levels.

Depending on the system, we work with the programming and art departments to determine what works best for both parties and try to reach common ground. At this level, you could say that we act as negotiators between the technical- and content-oriented disciplines.

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However, designing critical game systems requires technical artists who have intimate knowledge of both the game engine and development hardware, such as the Xbox 360 or PlayStation 3. The degree of knowledge necessary is such that if the technical artist isn't experienced enough or hasn't made due diligence a priority, pipelines can quickly take a turn for the worse. More often than not, early mistakes are felt in the middle of production, or even later in the development cycle.

Not only do technical artists design and spec-out these systems (in coordination with other disciplines), they are the ones driving and championing the changes. Because of their intimacy with such systems, it makes them the primary source of information when it comes to how things work and fixing bugs in tools written to support the pipeline.

It is important to note that at Volition our technical artists do not design code structure for the programmers. This level of granularity is neither our job nor our area of expertise. In contrast, we work with them at a higher level to develop the best way to get requested features from Point A (content creation) to Point B (the game) and everything in between.

Content Budgets and Guidelines

The technical artist is the driving force behind setting budgets and developing technical guidelines for creating art content. It's important for the technical artist to remember that while these requirements help to serve game performance, they must also be balanced such that they allow for a high degree of visual quality.

Art should be authored in a way that doesn't hinder performance of the game. Instead, it should be created to take advantage of the game engine and hardware strengths. To meet these goals, the technical artist works closely with the team's rendering programmers.

Tools Programmer

A technical artist should be flexible enough that she or he can develop tools for the art pipeline without any assistance. Typically, programmers do not wish to write these tools and this is where a technical artist can fill that void.

The level at which tools are developed varies. Most technical artists, by today's standards, come from an artistic background and favor the use of dynamic scripting languages such as MaxScript or Mel.

As their interest and experience level grows, some technical artists grow into more lower-level languages such as C# and C++. This gives them greater ability to write compiled plug-ins, such as exporters, and tools outside the content creation packages.

Specialized Disciplines

If there ever were a difficult position to fill, it's that of the technical artist. Technical artists were once content artists who taught themselves to write scripts out of necessity and had a natural interest in the technical side of the craft. At Volition, we break down these roles into core areas of game development. See Figure 1 for an example of the typical structure for our technical art teams.


Figure 1: Volition's typical art team structure is shown.

Technical art director. The technical art director is at the same level as the art director in our typical team structure. This person is responsible for coordinating the technical art team, prioritizing features, identifying and assessing project risks, and scheduling and designing critical tools.

In addition, the technical art director also designs and implements game systems and pipelines, creates guidelines and budgets for art content creation, and makes sure that the game's rendering performance is running optimally, while working with the art director to maintain a high degree of visual quality.

Generalists. What we call generalists are typically the senior technical artists who can drive any system in the game. They have a wide range of experience to pull from and are typically the critical go-to guys.

Character technical director. The character technical director is responsible for setting up the character skeletons, rigging, identifying and assessing motion capture and animation needs, scheduling and coordinating the animators, and developing or designing tools and pipelines to support the game's character systems.

Senior technical artist. The senior technical artist is primarily responsible for the design and implementation of larger and more critical game systems and pipelines. She or he is also partly responsible for ensuring that content is being created in an optimal fashion for not only rendering performance, but high visual quality as well.

Focused technical artist. Focused technical artists are typically entry-to mid-level technical artists. They focus primarily on specific areas of the game, such as environment art or character art. These focused technical artists take the point position for their particular art department and get approvals through the generalist or technical art director types. They provide direct support and develop any needed tools and pipelines necessary for their respective department(s).

 
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Comments

Anonymous
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Not sure about any other real artists here (or in the majority of the gaming community in general), but "technical artist" needs to be changed to something more fitting. It's unfair to compare a button pusher to a true creator, and it's really disappointing that some studios pass off said geeks as any form of artist. "technical artists" are the reason alot of games are watered down ripoffs of the latest fad. Grow up game industry, please...you're starting to really piss me off...

Doug Poston
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Anon: Did you read the article, or did you just feel the need to rant?

Anonymous
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Anon: It's a bit pretentious to call yourself a real artist, no? Who's to say that what you do is art?

Posted by a geek,
Continue to be pissed off. 8-)

Rob Nixon
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Anon: I find your comment to be absurdly arrogant. Without technical artists, much of the work "real artists'" create would continue to be unrealized. In an industry like this, one cannot afford to be so close-minded. If you want to be a pure artist, then this is the wrong field for you.

Robert Farr
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Good article, putting established intermediaries between coding and art teams also allows both sides to develop a better working relationship between departments, plus it can minimise the potential problem of one or two members of either team souring the relationship by having the unfortunate attitude displayed by Anons comment, I even doubt if Anon actually works in the industry atm.

Anonymous
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Good article, I agree that every game development team should have a technical artist on board as it can only make the game better.

I don't agree that the technical artist should be the one writing the tools in the future though. That's what tools programmers are for, of course the technical artist should be the one that tells them what tools need to be made and how they should work. As soon as the technical artist starts writing tools it will be perceived like just another programmer that artists have to beg to for features and bug fixes instead of an ally that can translate their needs effectively to the programming team.

Also, unfortunately the example given in the art of diplomacy section doesn't really proves the point of the need for a technical artist, there are much better examples. For that specific example, any graphics programmer worth its salt would have proposed a mixed system, or other ways that allowed to preserve the per pixel dynamic lighting on the parts were it really is important, and fake them (or alternative ways to do them faster or lower quality where possible) to keep the frame rate up as soon as the performance problem was discovered, if not way before that. A good graphics programmer would have seen the possibility of that problem arising since the really early stages of development of the game engine and develop techniques or enforce practices to avoid it entirely.

To Anon: Technical artists are real artists, at least all the good ones, they just happen to know the technical side too.



Anonymous
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I have enjoyed reading this article. And its articles like this that help bridge the academic/industry gap. I mean this isn't the type of information you get during lectures, well not in mine anyway as im doing programming (maybe the design course covers this type of thing).

As for the first poster i think you need to consider the film industry where you can afford to take weeks to render a scene and each character model is a billion trillion polygons each!

Anonymous
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As a Technical Lead myself its nice to see this area of development being given some focus. Schedueling is a particular bane of this discipline, too often the idea of having 2 or 3 days a week listed as support time is seen as not providing useful work. The industry needs to be more aware of the importance of closing the art/programming divide, not only for practicle reasons but also for cost reasons, time consuming low level tasks all too often add up to huge slices of development time (and hence budget) that could have been avoid had there been someone to push and champion clearer, faster editors.

Whats missing from the article is alot of the art side of the role, working with programmers is only 1/2 the job the other 1/2 is looking at art pipeline efficency, how things are constructed, the way shaders are used etc to make the assets as efficent as possible and allow artists to get the biggest bang from their buck, yes support for the software package is there but its vital that guidelines are established and regularly checked for the creation of assets, a large game can no longer afford rigourous scrutiny of indvidual assets for inclusion in a build.

Anonymous
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Completely argree with this anon 20 Aug 2008 at 1:17 pm PST

I totally agree, I've been a part of a company where a
Tech Artist has completly sabotaged the studio by passively aggressively controlling the pipeline.

These types really need to be watched carefully, because they are not creatives but instead are pipeline bug fixers. I'd rather change their names to "pipeline technician."

This specific Tech Artist, was a huge whiner and sabotaged the entire creative process. So we began to invite this person into the creative meetings; to no real creative person's suprise his ideas where way off to being anything unique or stacked.....

Aaron Casillas
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here here, I like Pipeline Technician, creativity and bug fixing are not the same thing.

Anonymous
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I think it's really a shame some of you haven't had good experiences. At our studio, Tech Art has saved the project many times by creatively and elegantly handling huge, delay-inducing issues.

I can see why you'd object to the term 'artist' if you worked with mere 'pipeline technicians.' When another artist, who happens to have some coding experience sits with you at your desk to design a tool and really stresses over making the work flow easily and efficiently based on your creative process, you'll appreciate why Technical Artist is an appropriate title, especially when you compare that to the glorified spreadsheets, through no fault of their own, that programmers deliver as tools.

Thomas Bousquet
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Such a position might be interesting for studios with lots of resource to spend AND which put a lot of emphasis on cross-project tools and long lasting pipeline process and engine.

However, as a software engineer, I don't believe you'd need to introduce a Technical Artist - or a whole team of them for that matter - to solve 99% of the issues this article is mentioning.

Obviously, there needs to be a real software design process while crafting tools, but to me, this falls in the responsibilities of the Tool team.
Let me explain : in other industries involving software odevelopment, a programmer/engineer and even more s someone creating tools is not only expected to have technical knowledge but also to build an expertise about the domain he's crafting something for. For instance, someone involved in making software for trading is supposed to end up knowing most of the stuff related to this field, otherwise what he does will somewhat be off the expectations.

Thus the problem lies with Tool Programmers being unable or unwilling to understand whatever artistic field they are in contact with. So rather than introducing a new element, you need to pick tools programmer based on their ability to work tightly with artists and manage them so they can build an expertise about sound, art or level design. Then you won't need a middleman that might slow down the tool creation process.

Anonymous
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Wow, there sure is a lot of elitism in these comments. I think too many people are concluding that these generalists are useless just because they had experience with one person who was bad at their job; as though finding somebody who has talent for both programming and art should be easy.

You need somebody like a technical artist (or tool programmer if you want to use a different name) on these large teams in order to facilitate work between two increasingly specialized disciplines. Specialists - those that are pure programmers or pure artists - put a lot of focus on being good at what they do. However, the more you focus, the less ability you have for bridging the two disciplines. You need a generalist or two in order to get your studio's left brain to work effectively with it's right brain.

The fact that a good tech artist is so hard to find is probably part of the reason that the vast majority of development tools for games are absolute garbage compared to what they could be.

Jason King
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As a former Tools Programmer I have found Technical Artists to be invaluable. Where I've worked, the technical artists are experts in the scripting side of the artists tools of choice (Maya, Max, etc). And with their expertise in the scripting language, they are quite capable of producing significant production side tools.

They are artist (generally coming from an animation background, but not always) with a distinct eye towards art that is functional in a game. And that is the key here... they understand what will be functional in a game. And not only are they able to communicate on both a technical level (with programmers) and artistic level (with artists), the ingredient that makes a technical artists successful is their ability to translate across disciplines.

From a programmer's perspective, I have seen artists make claims that they are not being given the tools or engine to do their art. I'm a programmer and not an artists so sometimes I don't have the ability to refute their claims. A good TA can come in and call BS on the artist and proceed to demonstrate the skills required to get the job done.

Likewise a good TA can have greater knowledge in the tool that is being used and can point out features of the tool that the tools programmer didn't know about. So if a programmer says they can't implement tool functionality because the base tool does not support it, then the TA can call BS on them as well. Not only that, often time the TA can script up a solution much quicker than a tools programmer can code it.

Where a TA excels is not in making suggestions about engine and tools features (though they are generally better at it than most non-technical artists), but in cross communication and watch-dogging between the individual disciplines.

Andrew Lee
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Fantastic article. I am what you call a "technical Artist", but at my company which employs ~300 Development personnel, we have 6 people who fill the exact positions described, but we call them "Game Systems and Integration Engineers" (GSI). Most of our work involves tools development and support to increase productivity in the graphics pipeline.

Thomas is right in saying that the benefit from such a role only comes when the resources have exceeded a certain limit, but that is true for every business were multitasking is better for smaller companies.

I wouldnt consider myself an artist as I dress relatively modestly, and i dont have a plethora of little toys around my work station :) I do however, understand the wants and needs of artists and the technical capabilities of our platform. Our role is quite unique, but it is very VERY satisfying reading that it is recognized by the industry.

The "technical artists" (GSI) in our company are a critical and integral part of the SDLC. What was done in a day several years ago, can be done far more accurately and efficiently in 15 minutes with our new toolset and methodologies. Also, when you have a team of 50+ software engineers, you will have a large number of "colorblind" and "tasteless" software engineers. Hence why we keep the art to the artists, and the software to the software engineers - further justifying the need for such a role.

And then theres the issue of software cowboys who think they have a great eye and secretly add their own personal graphic touches, but that my friend, is another story.


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