We recently talked to Evan Smith, Co-Founder and Creative Director of Pixel Dash Studios, about his team’s action/racing game Road Redemption. The game was released this past October on Steam with console versions planned for 2018. Read on to see how Evan and the team got started with Road Redemption, and how TurboSquid models were used throughout their development process.
“Lost at Sea” was our first ever 3D art challenge, and we were thrilled with the quality of submissions we received from all of you! Our panel of TurboSquid and 3D industry judges had their work cut out for them, and the judging is now complete. We’re happy to show everyone the winners for the Lost at Sea 3D Art Competition!
MAXON is the team behind Cinema 4D, one of the 3D industry’s most trusted tools for modeling and motion graphics design. Today, they announced that they’ve released an entirely new way to design and work with 3D content: Cineware for Illustrator. Their powerful new plugin allows designers to import any C4D project and tweak the camera, lights, textures and objects themselves directly within Adobe Illustrator CC. Read More
As the deadline for submitting to the Lost at Sea 3D art contest is drawing nearer, we wanted to introduce you to our panel of judges! We’re lucky to have several 3D industry luminaries participating in the judging, as well as some of our own talented Squids.
Product Manager, Substance Painter at Allegorithmic
We recently connected with indie game developer and TurboSquid customer, Sjoerd “Hourences” De Jong, about his action/adventure game The Solus Project. He and his team just released a version of the game for the PS4 (with VR support!), and it has been available on both PC and Xbox One since last summer. We love talking to customers about projects that they’ve released to see how TurboSquid and our community of artists played a role in the finished product.
At TurboSquid, we get a unique perspective on game engines. Instead of learning every facet of a single engine to make a completed game or experience, we instead learn a single facet of every engine on behalf of artists that look to us for guidance.
We recently announced StemCell, which (among other things) is an automation process that connects artists that want to focus on the platforms they’re comfortable with to all kinds of audiences by converting models from formats they know to various platforms and making them as if they were made specifically for those engines or renderers.