#2D Material Industry

[123567-9qaaq9]

2 D Materials Market, Market Size, Market Share, Key Players | BIS Research

2D materials are substances that are just a few atoms thick, usually one layer. The most famous 2D material is graphene, discovered in 2004 by physicists Andre Geim and Konstantin Novoselov, which led to a Nobel Prize in Physics in 2010. Graphene is a single layer of carbon atoms arranged in a hexagonal lattice, with incredible mechanical strength, electrical conductivity, and thermal properties.

The 2D materials market is projected to reach $4,000.0 million by 2031 from $526.1 million in 2022, growing at a CAGR of 25.3% during the forecast period 2022-2031.

2 D Materials Overview

2 D Materials   focus on addressing the environmental, social, and economic challenges associated with mining activities while ensuring long-term resource availability.

Key components of Sustainable Mining

Reducing energy consumption

Minimizing greenhouse gas emissions

Conserving water

Market Segmentation 

1 By Application 

•    Metallic Minerals

Industrial Metals

Precious Metals

Iron Ore

•    Non-Metallic Minerals

Coal

Others

By Process 

Underground Mining Surface Mining

By Mining Equipment 

•    Drill Rigs

•    Bolters

•    Dozers

•    Loaders

By Energy Source

1 Battery 

 Lithium-Ion Battery

 Lead Acid Battery 

 Others

2 Hydrogen Fuel Cell

3 Bio-Fuel 

By Region 

North America - U.S., Canada, and Mexico

Europe - Germany, Russia, Sweden, Spain, and Rest-of-Europe

China

U.K.

Download the report and get more information @ 2 D Materials Market 

.Major Key Players  

•    NanoXplore Inc.

•    Cabot Corporation

•    Thomas Swan & Co. Ltd.

•    Ossila Ltd

•    ACS Material LLC

Download the sample page click here @ 2 D Materials Market 

Demand – Drivers and Limitations

The following are the demand drivers for the global 2D materials market:

•    Growing adoption of 2D materials in energy storage •    Strong growth of 2D materials in the healthcare industry •    Growing demand for transparent conductive films in electronics industry

The market is expected to face some limitations as well due to the following challenges:

•    Lack of large-scale production of high-quality graphene •    High cost of production

Recent Developments in the Global 2D Materials Market

• In September 2021, Colloids Limited introduced a new infrastructure for customized polymeric materials using its ground-breaking graphanced graphene masterbatch advanced technologies. Due to its extraordinary qualities, graphene has attracted a lot of attention. Additionally, it has exceptional mechanical characteristics as well as superior thermal and electrical permeability.

• In December 2021, Black Swan Graphene Inc. signed a legally enforceable letter of intent to purchase Dragonfly Capital Corp., in a backward merger agreement for $31.5 million. On December 13, 2021, Black Swan Graphene Inc. and Dragonfly Capital Corp. agreed to exchange shares in an opposite merger transaction. Stockholders of Black Swan would then obtain 15.2 consideration shareholdings for every ordinary Black Swan share they own.

Challenges in the 2D Materials Market

Despite the excitement surrounding 2D materials, there are notable challenges that the industry must overcome:

Scalability of Production: Producing high-quality 2D materials at scale remains a challenge. Researchers are exploring various methods, such as chemical vapor deposition (CVD), but the cost and complexity of manufacturing must be addressed for widespread adoption.

Integration into Existing Technologies: For 2D materials to be fully integrated into mainstream applications, they must seamlessly work with existing materials and processes. Compatibility issues with traditional manufacturing methods could slow down the transition.

Cost of Raw Materials and Processing: Currently, the cost of producing 2D materials is relatively high. Developing cost-effective manufacturing techniques is crucial for making these materials economically viable.

The Future of 2D Materials

As the 2D materials market continues to evolve, we are likely to see a wave of disruptive innovations across multiple sectors. With ongoing research, improved production techniques, and increasing investment, these materials could fundamentally reshape industries ranging from electronics to energy and healthcare.

While challenges remain, the unique properties of 2D materials offer unprecedented opportunities for technological advancement. The next few years will be crucial in determining how quickly and effectively these materials can be integrated into real-world applications, but one thing is certain: 2D materials are poised to revolutionize the future of advanced materials.

Key Questions 

Q What are the main bottlenecks for scaling up 2D materials, and how can they be overcome?

Q  Where do you see the greatest need for additional R&D efforts?

Q How does the supply chain function in the global 2D materials market for end users?

Q  What are the key business and corporate strategies of 2D material manufacturers involved in the global 2D materials market?

Q What are the advantages of the emerging 2D materials that are entering the market, and how are they used in various applications?

Q Which applications (by end user) and products (by material type) segments are leading in terms of consumption of the 2D materials market, and which of them are expected to witness high demand growth during 2022-2031?

Q  Which regions and countries are leading in terms of consumption of the global 2D materials market, and which of them are expected to witness high demand growth during 2021-2031? 

Q What are the most promising opportunities for furthering the efficiency of 2D materials?

Q How has COVID-19 impacted the 2D materials market across the globe?

Q How the semiconductor crisis impacted the 2D materials market?

Conclusion 

The 2D materials market is set to grow exponentially as more industries recognize the potential of these atom-thin materials. With ongoing advancements in production techniques, new discoveries of 2D materials, and innovative applications across sectors, the future looks incredibly promising. 

[hezuart]

Why did you switch from animation to reviews? Also, do you still plan on doing CGI like you mentioned multiple times?

oH BOY..... you may need to sit down for this one

So it all started back in 2012. I was around 14 years old and just saw Rise of the Guardians and Wreck it Ralph. The stories, the characters, the world-building, the animation... now I never really went to movie theaters as a kid, but as a teen I started going and I instantly fell in love.

I went to community college for a few years and made some amazing friends. Loved some of my teachers and we participated in fun events like the 24-hour challenge and Campus Movie Fest. I had gotten in the top picks for Campus Movie Fest at some point and was supposed to go to the Cannes Film Festival in France to showcase my short film, but then the pandemic hit and it got canceled indefinitely.

So get this, for community college, I got a certification in 3D Animation and Video Game development. It's basically an AA degree but without general ed. (Why do you need general ed to get a degree in something? Math and PE have nothing to do with Animation. College is ridiculous. People have to pay you more simply because you were forced to spend more money in college. Wild.) Out of the 20 classes I had taken to get this certification, only 3 of those courses were hands-on 3D animation. And only one of those courses was hands-on video game development and I dropped out of that class because it was PC only and I only had a Mac at the time. I applied to the class without realizing it was accommodating only to PCs. So even my certification is barely reaching the basics for the title of it, but I did take another online course or two for 3D animation which I have a different certification for.

Now even with my 3D animation, I was never taught the physics engine. I was never taught hair or cloth simulation, but I do have modeling, rigging, animating, and texturing experience. For gaming, I have very little experience. I've only modeled things and found my way around Unity, but otherwise, I suck at coding. I hate coding with a passion. Making a video game without coding isn't really possible.

Now, when the pandemic hit, a lot of things were shutting down. I had no idea where I wanted to go next. People kept asking me where I was going for my higher education, but I kept getting warned not to waste money on college if you're trying to become an artist, especially at University. It's a money pit, and competition is so high, you're not guaranteed a job, you're just gonna be in debt. Even colleges like Cal Arts, who charge over $1K per class, I've been told are a "Pay to get in" kind of place. Where the money is used to nab professionals from their work to teach students or talk about their company or programs, and through that, you get a bigger chance to get your foot in the door because you know someone. I've unfortunately been told that's the more realistic way to get into animation: networking. If you're a shy introvert who doesn't know any famous people, you need to be extremely talented and unique to stand out to get the chance of being noticed. I don't really want to suck up to people nor do I want to waste thousands of dollars and 5 more years on college that I may not even need (let alone be able to afford) especially if there are online classes that may be even more valuable.

Now after I got out of college and started applying a few places, I discovered a LOT of unfortunate information.

Most animation these days is done overseas. South Korea, India, Japan, and Canada are the big ones.

Invader Zim, Steven Universe, Miraculous Ladybug, The Simpsons, OK KO, Star vs the Forces of Evil, Kipo and the Age of the Wonder Beasts, Adventure Time, Twelve Forever, and the Powerpuff Girls Reboot were animated in South Korea. The Ghost and Molly Mcgee is animated in Canada.

(The first four seasons of the Simpsons were animated in America until it switched to South Korea and India.)

2D traditional animation is no longer viable. Puppetry is the industry standard because it's the cheapest. Luckily, Toon Boom Harmony has allowed us to push the boundaries of 2D puppetry. Puppetry these days, if done well, can look really great, like Tangled the Series, but if you don't have Toon Boom Harmony, you're probably not gonna be hired.

Not even all 3D is made in the USA. If it's Disney, Dreamworks, or Pixar, then it's usually USA. But streaming service movies, like Sea Beast, Kid Cosmic, The Willoughbys, and Klaus, while they claim to be a "Netflix Original" that "Netflix Animation" animated, that's a lie. Klaus was animated by Yowza! Animation in Canada. The Willoughbys: Bron Animation, Canada. Kid Cosmic: Mercury Filmworks, Canada. Sea Beast: Sony Pictures Image Works, Canada. (X)

Go Go Cory Carson is written and storyboarded in America, but the animation is shipped out to be done in France. Sonic Boom is also French Animated.

Even Sony Pictures? Open Season, Surf's Up, Spiderman: Into the Spiderverse, Cloudy with a Chance of Meatballs, SMurfs, Hotel Transylvania, Over the Moon, The Angry Birds Movie, Sea Beast? Sony Pictures Imageworks is based in Canada. They're doing all the animation for them. It's not animated in America, it's merely funded by them.

I should also clarify: I only want to participate in stylized animated media. I don't want to do CGI for hyper-realistic films, which eliminates most of the animation jobs out there these days. It's just not my thing. The insane amount of details and uncanny valley are just so unappealing, I can't do it.

The closest animation studios are still far away. Most companies are located in LA. I'm over 7+ hours away from there. LA also has a high poverty rate, terrible air quality, is overcrowded, and is just generally not a good place to live, especially if you're low middle class. You're not gonna survive there.

Pixar is located in Emeryville, a few minutes north of San Fransisco city. Emeryville is the most crime-ridden city in that area. They tell you not to walk home alone at night. You're more likely to get robbed there than anywhere else according to the population ratio there. There are a lot of gangs that hide up there, and there's a lot of poverty there, even outside of San Fransisco. It's basically a trash pit. Not an ideal place to live, and commuting through 3-hour SF city traffic is also not gonna work. (X)

I have also been informed some people who work at Pixar are petty that the interns use their facility. Pixar has a heated pool, soccer field, gymnasium, and a few other nice things on their property. I was informed there was a person or two who got mad that an intern was using their basketball court.... when the intern was on break. As though they weren't part of Pixar, as though they had no right to touch the property. Apparently, they also used to make the interns push around little tea carts to serve refreshments as a way to "talk to the fellow animators" to probably get them interacting, but hearing that the interns were basically chored with butler duty to bother the animators hard at work seems like such a forced thing. That makes me uncomfortable. Of course, the person who told me these stories has been working with Pixar for over a decade or two now, so things could be very different as the years went on. Pixar itself on the inside of the animator building is gorgeous. They all decorate their office spaces in crazy ways, it looks like a movie set. But they have a bar and "whiskey club". They're apparently allowed to drink at work and have often had parties that got a little out of hand. There's also an old chain smoker room where the founders used to play poker and spy on people outside of their room with hidden cameras; I've even been inside. I don't think they use it anymore, though I'm not totally sure. Some of this info was fascinating, but the drinking made me uncomfortable. I kinda want to work with sober people here.

The sex ratio in the animation industry is also interesting and unfavorable. 70% of the animation and art school ratio is women, but only 34% of the actual animation workforce is women. 34% female to 66% male. More women study animation than men, but more men get hired and hold positions than women. Animation, ironically, has always been a male-dominated workplace. This unfortunately contributes to the "you have to know someone" or "be rich" to get-in situation. Men know a lot more men and not as many women. So the 30 to 40-year-old guys hire the other guys they know rather than a young poor girl with a passion. This makes it even more difficult for me to get in. (X)

20th Century, Netflix Animation, Nickelodeon, Cartoon Network, Bento Box, Vanguard Animation, Universal Studios, Titmouse, 6 Point Harness, ShadowMachine- all LA / South California.

There are a few places I could apply to, but what they do, I just don't care for. Niantic(Pokemon Go), Lucasfilm(Effects), Whiteboard Animation(Marketing), Sharpeyeanimation (Marketing), EA games (Mass Effect, Battlefield, Dragon Age 2, all those hyper-realistic war, sports, or fantasy games.)

So whether it's outside of the USA or within the USA, I need to move. I don't have the money for that yet.

Just find a company that does remote work, right? It should be easy, especially in pandemic times! Wrong. Most animation companies don't permit remote work. It's probably a security issue. But I've done research on this. The only big animation company I've found (so far) that allows remote work (or is HIRING for remote work) is Mainframe Studios in Canada. They have a 3D animation job list, and I guess they focus on animating Barbie movies(???). (X) But that's about it. And even if you're a remote worker, there's a high likely hood you still need a Visa to be allowed to work for a company belonging to another country. So that's a whole other legal process to deal with.

Disney is becoming a huge corporate monopoly over American animation. They bought Blue Sky only to kill them off. (Disney also just recently laid off 7,000 people due to their stock price drop and failed movies they released the past year with deliberately bad marketing for political reasons. (X) Disney also bought Pixar and is pushing for sequels because weird or bad, sequels and terrible live actions make them a LOT of money. Did you know Disney's terrible Lion King CGI remake is amongst the top 10 highest-grossing movies ever made? It's criminal. (X)

Because Disney is such a big name in the USA, there's a huge association of animation = children's media, which is not true. Animation at the Oscars also has its own category, when it's not a genre, is a medium. Disney often wins at the Oscars too because no one sees the other animations. Granted, Disney has an insane marketing budget in comparison, but it's clear no one cares to seek out animation outside of heavy CGI live-action these days. No small-time studios, no limited releases, no anime. The fact that Disney also now OWNS the Oscars is SUS as hell. (The fact that Disney-owned ABC threatened the Oscars, forcing them to cut 8 categories or else there wouldn't be a show that year is wild. There isn't even an oscar for stuntmen. What the fuck, Hollywood?) (X)

Dreamworks nearly went bankrupt and sold itself to Comcast back in 2013. Comcast also owns Illumination. Dreamworks has been focusing on making bad tv show adaptions of their IPs. So yes people, Jack would sooner meet the Minions than meet Elsa. Disney is the biggest corporate monopoly, but it's definitely not the only one. The animation industry in America is snuffing out its competition by buying it out for itself. It's insane the kind of power they have.

Competition is HIGH. Because of this, the only ways to get in? If you're rich or you know someone. Pixar gets over 3,000 intern applications every summer. Less than 100 are seen by actual hiring managers. The most interns Pixar has ever taken in a single year were 12. The least they ever took in a single year was two. A 12 to 3,000 ratio is not favorable. That's a 3% chance to get into a big-shot animation company.

And again, because remote work isn't permissible to new hires, you need to live in the area to commute to the campuses. This is one of the reasons why LA is so crowded.

If you get into an animation company purely remote and maybe even for a different country? You are the luckiest person alive.

Programs are expensive. The animation industry is very strict on what programs they use. The industry standard for 2D puppetry is Toon Boom Harmony; the industry standard for 3D animation is Maya, and the industry standard for video game development isn't as clear but Unity is one of them.

Some of these programs are free, as long as you are a student. If you are attending college or a certain online program, you can use your school-issued email through them to apply to get the program for free for about a year. Otherwise, if you're using it to make your own animations solo?

Autodesk Maya: $225 a month or $1,785 a year (X)

and guess what? Maya removed its free render service. Arnold is now built in by default, however, if you want to BATCH render (Meaning render a full scene or several slides) it will slap it's ugly watermark over it.

Fun fact, this very rendered watermark can be seen accidentally in a single frame for the Kingdom Hearts Frozen cutscene

Well, you need to batch render if you're trying to animate so let's see what Arnold costs- $50 monthly to $380 annually.... are you kidding me?! The rendering PLUG-IN BUNDLED TO MAYA COSTS MORE TO USE THAN THE OWN PROGRAM?! (X)

Now, there are other rendering plug-ins you can probably use with Maya. But they all have their ups and downs and their own costs as well. (X) Pixar's Renderman is $595 per license. I can't seem to get info on Octane. V-ray solo is $39 monthly while premium is around $60 monthly.

Now there IS Blender, an alternative to Maya. It is free and I have it. That is ideal to work in for people like me. I tried it a while back, but I hated the interface windows. It was hard to work on it when you can't close them properly. It's possible they've fixed this in an update, but I haven't touched the program in over three years so I wouldn't know. It's different from Maya a little, so it has ups and downs in comparison too. But Blender is a savior to 3D artists everywhere.

Toon Boom Harmony isn't as bad but still high: Lowest price is $27 monthly / $220 annual and the highest is $124 monthly / $1,100 annual (X)

Unity has a basic version that is free, but Unity Plus is $399 yearly while Unity Pro is $2,040 (X)

So some programs are clearly more viable than others. But imagine you're trying to model, texture, rig, animate, simulate, and render a short film all by yourself in Maya. That's gonna take you over a year or two, and you'll have several thousand dollars out of your pocket by the time your free trial ends. And might I say, for an industry-standard program, Maya sucks. It's almost unusable without those plug-ins for not only rendering but also for the models to even be able to SELECT their BONE rigs.

Do you want to practice on your own when school is out of session? Fuck you! Fuck subscription services! Welcome to capitalist hell, baby!

Again, using Blender is more viable, but you're still going to be basically doing everything yourself. That's gonna take years. Do you have the patience for that? Do I?

Because of the pandemic, movies aren't even hitting theaters anymore. They're going straight to streaming services. Streaming services of which, gain sole rights to and can take media off their platforms at any time without warning. Thanks, Discovery+ ! Does everyone remember the HBO Max Animation & DC purge? It could happen to other streaming services too. Piracy will save the future of animation at this point. (X)

And again, Streaming services like Netflix will purchase films and claim they made them by slapping their logo over it; but no, they either bought the distribution rights or produced them through funding and maybe storyboarding. Often times from a Canadian film studio. (Link again X)

Even stop motion companies like LAIKA are losing money and may have to shut down or be bought out in the future, especially considering how much work and money they put into their films vs. how much money they actually make. (X)

All of this? Naturally made me fall into a depression. My god, the layers of hopelessness. My animation and modeling is pretty average too. I'm decent. I can maybe make a good shot. But I can't blow people away like James Baxter can. I mean, I shouldn't compare myself to people. If I worked really hard, maybe I could get into a good company. But again, I have to move! A part of me gave up. I don't really do 3D animation anymore, though part of me misses it.

I still 2D animate. I'm trying to make a short film and though my college friends who were working on it with me have given up, I have done my best to keep going. Even if it has been produced at a snail's pace for the past three years, I still intend to finish this animation. It's gonna be beautiful when it comes out, and it will be a wonderful portfolio piece regardless.

So with nothing else to do and no other kind of job experience really under my belt(plus my family is prone to covid so getting a job in the pandemic was just kind of out of the question) I decided to go to youtube. I heard some people can make a little money on there, but the truth is I had actually wanted to become a youtuber for a few years prior. I've always looked up to animators and reviewers on youtube, I've loved the stories they tell and their incredibly detailed analysis essays on movies, tv series, books, etc. I wanted to be one of them. I wasn't sure exactly what I'd do, so I just followed the Youtube Partnership program set up which took a few months, and then jumped in! I found I only had the time to upload once every month or two. I had a ton of audio issues and I'm not outputting at the proper 1920 x 1080 quality that I should be doing either. It's a huge learning process that I still haven't perfected, but I'm taking notes to try and get better.

Even though Youtube is fun, I only make $300 a month, and that isn't even consistent. With patreon, I make maybe another $80 or $100 on top of that, so overall $400 a month average. That's really nice and pretty cool! But it's not enough to survive.

Now I work part-time at a coffee shop. My mental health is a lot better and I love my coworkers. I make roughly $400 a week in comparison to the $400 a month. It's still not enough to live off of (the cheapest rent around is over $1,000 a month, not ) and it's still a temporary job in the long run. I intend to work here for maybe another two years to save up money.

But what do I do now?

Am I welcome in animation spaces anymore?

As a critic of popular media, it could be likely that they could fire me or deny my application because of my critique of their past films or tv series. They could see my youtube persona and assume I'm a raging untrustworthy nitpick instead of a passionate, kind person.

Vivziepop's Spindlehorse company? What Viv was doing was a dream. I was so inspired by her. She made her own company, made a super successful pilot, and was even creating more jobs for traditional, high-quality animation. However, for Hazbin Hotel, she required more funding, which is why she sold it off to A24, who now has corporate say in the show. A24 is known for letting creators be more lenient, but otherwise, Viv won't have full control over it anymore unless she managed to get them to sign something over to her; but with the rumors of her being kicked off season 1? I don't know anymore.

Her own company Spindlehorse; they rely on youtube revenue and/or merch sales to fund Helluva Boss. That's a tricky business practice, but it's kept them afloat so far.

However, Spindlehorse is hiring a lot of people as of late. This could be a bad sign; that people might be leaving the company due to potential mistreatment or unhappiness. With the way the show is going, I don't really want to be part of that company regardless, but maybe before season 2 of Helluva Boss, I would have considered applying. Had I made any critique videos prior, there's no way they'd accept me. "Aren't you that one YouTuber that said my writing is bad for season 2 episode 2?" And you expect me to hire you?" Like yeah, that application process would go down well. Not. By critiquing artists' work, some of them are very sensitive. I'd be kicked out for a lot of things, when really, we artists should be critiquing each other all the time, trying to improve. That's how the writer's room always is, ahaha... hours of fighting goes down in those meetings. It's intense, but fun.

But yeah, it's such a shame. Even small companies need to sell out to corporate to survive. Either that or be HEAVILY crowd-funded, which again, can be a slippery slope.

I see a ton of small projects on Twitter looking to hire people, or looking to become a big studio to release a pilot or game. I've joined a few of them, but most are unpaid because of COURSE they are, and then these projects?? Just don't go anywhere. Because it's unpaid. Because we can't afford to work on a project for free. IRL comes first. Some of these projects seem so great but they don't go anywhere, and it's hard to have faith in start-up studios anymore. (Game creators might have a chance, but tv series or films? Good luck, folks.)

At that point, should I just make my own company? I don't have the money or knowledge for such a thing! It's insanely expensive to start a business and get licensing. So much paperwork, so much everything! And the USA Government is so behind in understanding technology. If you want to create a remote business and/or copyright something, you're still required to put an advertisement in a local newspaper about it, even if your business isn't selling to locals. 💀 The number of fees and ridiculous legal hoops you need to jump through... it's a ridiculous waste of time and money. But you need to do it. The question is, am I willing to do it? Am I willing to tackle such an insane thing by myself?

I want to keep my internet persona and IRL persona separate, but can I? I value having a private, quieter life away from the screen. I worry about getting doxxed one day because of the nature of the internet. I worry about people finding my IRL resumes or profiles for work I want to do outside of youtube for security's sake. My art style is unique and very recognizable. I don't have a lot of private art that is worthy of being in a portfolio. But for absolute safety, I'd need to password-protect my websites or portfolios so the public doesn't have free access to them; only companies I'm applying to. But at that point, does password-protecting my resume and portfolio make it less likely I'd be hired due to the inconvenience? Due to the private, hard-to-find nature of my work? Being a YouTuber with great story skills and art skills with a fanbase could be a big plus to getting hired somewhere, but it could also be a horrible disadvantage that would get me fired. It's a double-edged sword that I cannot work around and I don't know what to do.

I've considered the video game industry, but even that isn't ideal. A lot of the indie ones I adore aren't made in the USA. Gris and Monster Camp were made in Spain. Ori and the Blind Forest: Austria. Hollow Knight: Australia. Little Nightmares and Raft: Sweden. LIMBO & INSIDE: Denmark. Outlast, Don't Starve, Spirit Farer, Bendy and the Ink Machine: Canada.

SuperGiant Games did Hades, Transistor and Bastion and is located in SF, but they're not hiring. Janimation, a multi-media company located in Texas isn't hiring. Frederator in New York isn't hiring.

I don't want to work for a studio that does nothing but first-person shooters or sports games. If I want to get into the gaming industry, I probably need to crowdfund and make a company to make a game myself.

If I make my own game, which I've wanted to do for a long time now and still want to... I can't code. I guess I could try to hire someone that could? But a game to the extent I want... I'd need to start small. I'd need to practice. It's several years of work. Will it even be worth it? I don't think I can do it alone. I'd need crowdfunding and workers; which again, here comes the "make my own studio" issue...

Do I even want to animate anymore? I prefer traditional animation in comparison to puppetry. I prefer 2D animation to 3D animation simply because it is more accessible. But even then, I'm finding myself drawn more and more to writing, storyboarding, and character design. If I were a 3D animator, this is mostly what I'd be working with all day: Naked models in an empty room. I'd do none of the physics simulation or texturing or lighting.

Animating naked & bald people all day... I don't know... 3D Animation kind of lost its appeal. You only work on such a small portion of a film, you almost never have the bigger picture. You won't see the final result until the film is done. As an animator, you're almost kept in the dark. Maybe that's how they want it anyway, since leaks are a huge issue they keep quiet under strict NDA.

But yeah, anyway... I'm an artistic digital generalist. I can do almost anything. 3D animation, storyboarding, writing, photo editing, illustration, rendering, modeling and so much more. It's hard to choose what you really want to be in this industry. I feel like Barry Benson dfklgjdflkjg

I don't know what I'm gonna do anymore. There's gotta be a solution to this but I just can't figure it out. I don't want to give up my youtube channel so I can be an animator. I don't want to give up a safer, quiet countryside house to be able to survive financially. Am I even willing or able to move countries? Is my career more important than friends and family?

I think I'm thinking too much about everything. I should start small. Move less than an hour away first and move in with roommates to get a feel for independence instead of jumping into it immediately. Get a job at a small time company, maybe not for what I want at first, but it'll get me some experience and maybe I'll learn some things along the way to understand where I can go next. Take it slow and don't panic too much over trying to be a young big shot. Take things one day at a time? That's my current goal, I suppose.

So you know... to answer your question... why did I switch to youtube for a current career? Because of a classic existential & career crisis in my 20s. Will I ever go back to 3D animation? Maybe. Maybe one day.

[allgremlinart]

but yea love you Studio Mir. MAWS was not it 🫢😔🔫 FOR ME...

[mohitbisresearch]

The global 2D materials market is projected to reach $4,000.0 million by 2031 from $526.1 million in 2022, growing at a CAGR of 25.3% during the forecast period 2022-2031.

The demand for 2D materials is anticipated to grow with the increasing demand from the end-use industries such as composite and coatings, energy storage devices, electronics, semiconductors, pharmaceuticals, automobiles, and others.

Request A Free Sample Click Here

Furthermore, it is anticipated that during the projected period of 2022-2031, the increasing adoption of 2D materials in the healthcare industry and the increasing adoption of non-graphene 2D materials such as Mxene, TMDCs, Hexagonal boron nitride, and others are expected to further fuel the advancement of the global 2D materials market. However, the high cost of production is anticipated to hinder market growth in the upcoming future.

[therowdymagpie]

Arcana Main 6 as Animation Styles

A/N: Here's some short headcanons for what what style of animation the Main 6 remind me of. These are mostly based on vibes.

Asra: Psychedelic animation

...Come on, you know why I picked this

To be fair, I also see Asra as 2D because of the sense of wonder and whimsy, but this was too fun to pass up on(It's what they would have wanted)

It's just perfect for him, it's literally Asra's flavour of mystery and what the heck aura, it's colourful and very Lisa frank in vibe

No thoughts, no purpose just trippy landscapes and bright colours with underlying meanings

Julian: 3D Animation

Like Julian, it is very popular with the crowds as well as the industry itself

There's also a connection with the theatrical as 3D is meant to create the illusion of real life in 2D animation by lighting and using the right setup

It's main purpose is to (aesthetically at least) please the audience, adding debth and life to the world, which I feel like really goes well with Julian's personality and effect he has on others

Moreover, It's one of the only types of animation that get used in the Medical Field to illustrate how diseases develop and progress in the body, which Julian would definetely be fascinated by :D

Nadia: Graphic Animation

This is frankly the only style I could see Nadia as

Have you Seen this woman's cursive? This works really well

Graphic animation needs creativity, it's efficient, practical and always aspires to be stylish and desirable, much like the Countess herself

I think it also makes sense from the perspective that Nadia has to be always well-presented herself as a person in a position of power(I mean this style's most popular uses are in Marketing and Business)

Muriel: Stop-motion Animation

The use of an unmoving and limited movement material that gets manipulated to create a very specific line of action hmm...

Honestly, aside from traumatic connotations, I really feel this style suits Muriel because it just does.

I mean from vibes alone...It's uncanny, eerie but also very life-oriented and grounded which are so him in the start of his route.

Also a very versatile style of animation that can use an array of objects(often more environmentaly friendly) to work, so maybe it can be compared to Muriel choosing to live in the middle of the woods.

Just Bubbly, energetic and vibrant, it feels like classic 2d is just perfect for Portia.

Portia: Rubberhose/ Traditional Animation

I especially love rubberhose for her because of her lively nature and child-like wonder she presents.

Plus seriously Portia is all about her fictional books and fantastical adventures so it's not too hard imagining her just being so immersed even in modern cartoons.

Don't be fooled though this style of animation took (and still does) incredible dedication and putting your soul in it, which could subscribe to Portia's strength and hard work ethic.

Lucio: Rotoscope Animation

Rotoscope animation looks like being between the real world and another entirely, which is just very reminiscent of Lucio's state for a certain 3 year period...

It essentially "uses" or "takes" elements from real life to create movement, which I think is just a very funny pararel to Lucio basically wanting to snatch MC's body to come back to life XD

Much like the man himself though, there's also some controversy with it as a technique, as many people think it just a way to trace and a shortcut to animation .

Using it in projects can also be quite expensive too so yeah, very Count all in all.

[certifiablyinsanez]

Buckle in guys this is gonna be a doozy. Keep in mind that some people have sworn this isn’t their experience with the fandom and frankly I would like to know what spaces you are in because this is mine:

As someone who loves HH and HB, I’m going to say it; the Hazbin and Helluva fandoms are probably the worst I’ve ever encountered. Here are my top 5 gripes. Mentions of SA within the show ahead.

1. The problem fans have with the actors, studios and of course, most of all Viziepop. I’m not going into that drama, the point I’m trying to make is that white cishet men have been getting away with absolute murder for ages in this industry and have not received even a crumb of this much flack. The fact that an independent, queer, woman of color is being put through the SHREDDER online and her work is devalued despite having extensive queer, BIPOC creators, cast and characters frankly leaves a bad taste in my mouth. I don’t think she’s perfect and free from criticism but I’ve seen people foam at the mouth in defense of people like Taylor Swift (despite her being a billionaire because yes being a billionaire is never ethical and an eco terrorist). I don’t think I have to spell out the double standards further.

2. The HORRIFIC sexualization of characters. This is so bad I have to split it in categories.

•In Helluva Boss it’s Loona. Seriously, the way people are absolute CREEPS about Loona is one of the worst cases of perversion I’ve seen of a character within a fandom. And I watch anime. I’m very familiar with the incel-y, body-pillow having, foaming-at-the-mouth weird perverts that come with animation. The fact that it’s possible Loona started out the show underage makes it worse but here’s the kicker…if Loona was not and is not underage, the obsession with her is still gross to me. About 90% of content with her is basically rule 34. They joke about it in the show with the fourth wall break, but honestly guys? Get a hold of yourselves. Especially under certain context that she might be an SA victim is worse. (See the syphilis comment in the pilot. That disease manifests symptoms over years this isn’t necessarily canon but if it ever does become canon in the future it will make the sexualization downright unforgivable).

• ALASTOR. Alastor would be a clean #2 below Loona on the sexualization scale. As an asexual aromantic person, I’m frankly insulted (but not surprised) by the fandom’s approach to Alastor. Alastor is a canonically asexual character. People will (and have) argue with me that he’s canonically ace but it’s technically not confirmed that he’s aromantic and therefore use that as a justification to use him as bait for shipping wars and fic material. Viziepop said that she doesn’t mind certain things and has the one condition that we be “respectful”. I honestly think the fandom has entirely and spectacularly failed at that. People see Alastor in 2D. He’s witty, funny, sassy, self-assured, dare I say fabulous. Therefore, people seem to forget he’s ace. I’ve literally seen people say “I’m supposed to believe this guy is ace?” YES! Because he is! This hurts me as bad as it does because I have been out as aro ace for 10 years now and I’ve been exposed to so much vitriol at our community. If you haven’t been exposed to that, I’ll just say that the general picture people have of our community is that we are robotic, loveless, and empty from something people consider as fundamentally “human”. Still to this day people debate whether we’re even real. Alastor doesn’t fit that picture with his candor and charisma, and therefore people drop his ace identity at the drop of a hat. I can see it happening here because I’ve seen it happen with real people countless times. Even if that’s not how you see it, look at it from this perspective:

It’s confirmed that Alastor had no relationships in life or in death. Some people swear that he’s canonically sex-repulsed which I agree with but can’t confirm so I don’t claim it to be true canon just yet. But look at it like this. What have we seen from Alastor so far? Angel’s advances disgust him. He rebukes all advances. It’s canon that Alastor very likely cannot see others in a romantic way (and here is why I’m sure why): because he thinks pretty much everyone is beneath him. Yes it seems he is friendly with fellow cannibal overlord Rosie and lets Nifty touch him whereas others cannot, but what does it tell you when the “closest” people to him don’t catch his eye in the slightest? Because pairings in these shows are EXTREMELY intentional. I should also say the reason I’m adverse to shipping Alastor with anyone is the same reason I don’t ship Sir Pentious with anyone. It’s absolutely not important to their character. I understand having a fascination with him, believe me I love him too, but it really seems as though these shows have been reduced to shipping fodder. Also, Angel is canonically gay and no one ships him with women because that is something folks can understand and have respect for. I personally don’t see the difference between the two (in terms of sexuality).

3. The hyper-criticalness of it all. I honestly feel bad for the cast and crew because I swear y’all are never satisfied. I see endless complaining that Hazbin sucks because the “developments are bad” or some shit. What??? Including the pilot there have been 5 EPISODES. For fucks sake WAIT. Many great stories didn’t start off awesome. Why did we all forget that stories take time to come off the ground? I feel like everyone’s been poisoned by the writing advice that if you don’t “immediately hook the viewer on the first page/episode then it’s bad” or something. With Helluva Boss that has more episodes, its usually the fact that people hate the female characters. “Loona is a bitch to everyone”, “Octavia exists solely for Stolas’ development”, “Millie doesn’t exist outside Moxxie”. I’ve even seen people SYMPATHIZING with STELLA. Okay, first of all:

• Loona is canonically the lowest class in hell and very well could’ve been born and raised in a pound for 17 YEARS. Imagine if you grew up in prison and your only chance out was for someone to come along and buy you. If the comment from the pilot holds any weight (it may not but it might), then she was SA’d too. That’s complex trauma folks and ITS NOT PRETTY.

• Octavia literally had her own episode that showcased development for both her and Loona as well as the rest of the cast. But at the end of the day, her being sidelined for Stolas isn’t a shock because who is going to carry more weight in this story? Her, or her father who is the love interest of the MC? Stolas has a bigger role, that doesn’t mean Octavia is good for nothing else. I think it’s an interesting showcase to have her as a teenager going through the trauma of a divorce initiated by an affair. It’s a very real thing that happens but I never hear talked about. I just think that it’s a pointless battle trying to have her and her fathers importance be equal. From a storytelling perspective they just aren’t and it’s okay.

• Millie is a WONDERFUL character! For anyone who has seen Demonslayer, I say that Millie got the “Mitsuri Kanroji treatment”. She’s one of few female characters that isn’t necessarily defined by a traumatic past. So far it seems like her story is a country girl born and raised on a farm with lots of siblings and somewhat iffy parents. Not exactly as dramatic and horrifying as Moxxie’s mob past, or Blitz’s life ruined by fire. I know the biggest critique is that she’s nothing outside Moxxie. Like, I’m sorry, what? Since when is it a crime to be madly in love with someone you married? I would say Moxxie is more dependent on Millie than the other way around and yet the burden of that is placed on Millie and I KNOW it’s because she’s the woman. I ADORE Millie because she’s just…normal. She’s funny, bright, sweet and bad af. If I’m being perfectly honest, I’m not entirely sure as to why she is hated so much. I genuinely don’t see what’s not to love about her.

• STELLA??? Guys it’s gone too far. Do you sympathize with her because Stolas cheated and the marriage was just as arranged for her as it was for him? Because after everything she’s done I don’t care in the SLIGHTEST. Because Stella had ALWAYS been cruel. Did you not see her kid picture??? She TORTURED LITTLE ANIMALS. If someone does that in real life, we don’t defend those people for a second. It’s clear that she’s hit him before. That shot where Stolas catches her hand implies that there were many times that Stella did that and he did not intercept. Stella always talks bad about Stolas no matter what. Whether it’s to her friends at parties or to Stolas’ actual face. I know she brings him down around her daughter too. She humiliates him any chance she gets while Stolas has been shown to usually refrain from doing so (does Via even know it was her mom who tried to kill her dad?). So far we have not seen her have any real love for Octavia (Stolas put her to bed always and she never got up for her). But also, the tiny detail of SENDING AN ASSASSIN AFTER HIM. And she had not a cent of concern for how that would affect Via. I genuinely see nothing in her that’s worthy of defending. Sometimes women are abusive guys I don’t know how to tell you this.

4. The hate on Hazbin ladies. People hate Charlie, Vaggie, and Nifty. They always say it’s because Vizi cant write women, I just think it’s the fact that their media literacy is in the toilet. If Charlie was anything other than the eternal, naive optimist the story of Hazbin wouldn’t even exist. It would be impossible. No one else would’ve ever started such a project as a soul rehab in hell. I’m excited to see more developments with Vaggie (cuz I know that five episodes isn’t enough to have the perfect picture of a character) but so far I’m fine with her. I like how easy and low key their relationship is. Which is funny because everyone else hates it for the same reason. Nifty is comedic relief and everyone LOOOOOVES those characters…when they’re men, which Nifty isn’t so they hate her.

5. Finally, the fact that I can’t tell who are the haters and who actually likes the show. Because the tie in with the hyper critical responses but also the fact that people cannot simply not interact with this media. Some people genuinely watch it to shit on it. I don’t understand why. Please leave us in peace to have fun and enjoy. I’ve never seen so many haters in a fandom space before.

If yall have a response like “bro where the fuck have you been interacting with the fandom” PLS tell me where y’all have been avoiding this because this shit has haunted me EVERYWHERE.

[materialsscienceandengineering]

Water-free manufacturing approach could help advance 2D electronics integration

The future of technology has an age-old problem: rust. When iron-containing metal reacts with oxygen and moisture, the resulting corrosion greatly impedes the longevity and use of parts in the automotive industry. While it's not called "rust" in the semiconductor industry, oxidation is especially problematic in two-dimensional (2D) semiconductor materials, which control the flow of electricity in electronic devices, because any corrosion can render the atomic-thin material useless. Now, a team of academic and enterprise researchers has developed a synthesis process to produce a "rust-resistant" coating with additional properties ideal for creating faster, more durable electronics. The team, co-led by researchers at Penn State, published their work in Nature Communications.

Read more.

[zvaigzdelasas]

Chinese scientists have made a significant breakthrough in the world of semiconductors, the South China Morning Post (SCMP) reports. Just one atom thick (thereby termed "2D"), the new 12-long (30.5 cm) wafers can be cheaply and potentially revolutionize the semiconductor industry, its creators claim. While more work is needed to turn them into usable microchips, the new wafers could complement, even challenge, traditional silicon chips. Due to its thinness, the new 2D material exhibits superior semiconducting properties. However, the team of scientists faced challenges when it came to scaling up the size of the wafers and producing them in large quantities. “We proved to the industry that this is scientifically feasible and instilled confidence. If there are industrial demands in the future, progress in this field will advance by leaps and bounds,”  study lead Professor Liu Kaihui of Peking University told SCMP in an exclusive interview. As reported in a study published in Science Bulletin, the new wafers offer some critical improvements over existing silicon chips. “When silicon transistors are made thinner, their [voltage control] becomes worse. Current will exist even when the device is not working. This brings extra energy costs and heat generation,” Liu explained. The new 2D material comprises crystalline solids with one or several atom layers. Due to its naturally atomic-level thickness, the wafers possess unique physical properties and have potential applications in high-performance electronic devices. “A transistor built from a single layer of MoS2, [a typical 2D material] with a thickness of about one nanometre, outperforms the one made with the same thickness of silicon many times,” Liu added. [...] to date, scientists have struggled to fabricate 2D material wafers with high uniformity and device performance, even though 2D materials can exist separately at each layer. The new wafers can be stacked layer by layer, including materials such as graphene or transition metal dichalcogenides (TMDs) like molybdenum disulfide, tungsten disulfide, molybdenum diselenide, and tungsten diselenide.

28 Aug 23

[sanshofox]

Imagine my shock when I read news similar to unreal low key wanting to do the same as unity. There’ll be a free version apparently for students and hobbyists, but what does that entail? Most of the time free version means a downgraded version with limited access to tools. I do use bridge functions like materials or metahuman scan for renders, studies and refs. I can imagine them making the first steps to make that exclusive stuff for usp reasons.

Need to read more into it when I got the time, but generally I feel like we go towards a way that makes it harder to learn as an 2D and 3D artist. It also hurts little studios trying to make a breakthrough in the industry. Everything artsy gets a paywall like damn.

[spacediner-game]

Looking for a Game Artist!

Position: Freelance 2D Pixel Artist Project: Space Diner Studio: Monsoon Games Location: Remote Compensation: Rev share, or Flat Fee (negotiable)

About the Game: Space Diner is a cozy, narrative-driven sci-fi slice-of-life/ management game set against the unique setting of Jupiter’s second-largest moon. As the new owner of a space diner, you'll juggle various management tasks, cook meals, unlock new recipes, upgrade your equipment, and keep your establishment afloat. You'll get to know a diverse array of regulars, each with their own stories and relationships.

What We're Looking For: We’re seeking a talented 2D Pixel artist and animator who can bring the unique atmosphere of Callisto, the Space Diner, and its inhabitants to life. You should have a strong sense of character design, background art for world-building. A passion for sci-fi and/or cozy, slice-of-life games is definitely a plus!

Our ideal artist has experience working in stylized, colorful, striking pixel art, with a knack for creating memorable characters and rich environments that feel both alien and homey.

Responsibilities:

Create character designs for recurring diner customers/main characters (with different emotions)

Create small character assets for a wide range of once-off diner customers or inhabitants of Callisto (miners, corporate lackies, rich tourists, environmentalists, explorers, spaceship crew etc.)

Design space diner interiors, props, and objects, such as kitchen equipment, furniture, and décor

Illustrate alien food dishes, menu items, ingredients and kitchen equipment for cooking and inventory system

Develop space-themed environments, including exterior and interior shots of Callisto's various key locations (e.g. main street, city centre, other locales)

Brainstorm art references, artistic styles

Create promotional artwork for social media, Kickstarter, and other marketing materials, including game thumbnails

Art Style: The game has a cozy, warm, and slightly quirky art style with sci-fi elements. Think of a space-faring version of a classic diner, with a dash of whimsy and colorful alien customers. Inspiration could include a mix of retro-futurism, neon+dark color palettes.

Key Assets Required for the Game:

Character Art:

Recurring customers (10+ with varied backgrounds, human and alien designs)

Random walk-in customers (variety of races, body types, and personalities)

Main protagonist (the diner owner, 10-12 variations based on skin color, gender, build choices)

Backgrounds:

Interior diner (various angles: kitchen, seating, counter, exterior, garden)

Callisto's natural landscape (different seasons)

Other key locations (market, nightclub, competing restaurant, mining area, industrial centre, spaceport, nearby housing estate)

Different seasons, festival decorations

Props:

Diner props (furniture, kitchen tools, counter décor)

Food/Ingredients (meals/dishes for menu, ingredients)

Marketing Art:

Key art for promotional purposes (game thumbnail)

To Apply:

If you're excited about the idea of creating a cozy, narrative-driven world set in outer space and bringing a quirky, colorful cast of characters to life, we want to hear from you! Please contact me at allieebobo@gmail.com, or reach me on discord @ allieebobo. As the game is still in its early stages of game design, there is still room to discuss the scope, artistic style, and exact assets required!

[arainmorn-art]

Oh gee, procedural textures. Yay! Inspired by briar roses and David Austin's roses. They are so tricky to do, yet for some reason I'm fascinated by Substance Designer's potential and want to learn more about it. It's, uh, probably unusual in the industry for a 2d concept artist to like such stuff, as this thing is mostly for 3d artists, and I don't even know whether I'll ever be able to work as Material Artist or even would be interested in textures long enough, but there's something in it that I feel is close to my heart. We'll see where it would bring me.

[spamtonratiogeneral]

Proudly not watching NATLA. I don't really care what changes they made, whether it had been entirely the same or another hilarious fuck-up like the non-existent movie. Like whatever they did to fuck up the story I get if you're invested in the adaptation so fair enough

What I actually care about is the fact that it even exists at all. Even with the very rare cases where it actually brings something worthwhile to the work (I hear the Netflix One Piece is good? idk), why bother adapting animation to live action? Because nearly every time there is no artistic motivation to do so at all, merely the blatant cynicism and that sneering reduction of animation in the entertainment industry as just "the means of making cheap children's cartoons" that just refuses to fucking die already.

In general I find adaptation to rarely justify itself artistically, especially if the source material was really bloody good already. Of course great adaptations exist, sometimes from elevating/subverting it's source (or in the case of Starship Troopers for example, taking the everliving piss out of a pile of shit), sometimes merely by translating the work into a new medium that lead to interesting new avenues for expression and storytelling provided by the change in medium (and by this I mean wholly different mediums, like between book/videogame/film or show/play), or both.

Changing between live-action and animation as a means of making film/TV is not a big change in medium to provide entirely new storytelling opportunities, BUT 99% of the time, animation is more effective. Casting is never dependent on an actor's irl appearance, the method of animation can even be changed at any point to serve a function, animation (with sufficient time, resources and passion) allows total control over the entire visual presentation of the work. And by such total control over the presentation alone, suddenly you are open to an infinity of possibilities in choreography, character expression, visual comedy, tone, colour, environment etc. etc. You are no longer limited by what can be captured in physical reality on a screen in any one take. You are limited by what you can fit on a 2D screen.

What we call live action today in mainstream media is not really live action, it's in large part a corporate compromise to extend just past the financial and physical limitations of practical effects to achieve whatever the script needs the screen to do via CGI. Which is just 3D animation, but it's completely focused on adhering to a visual realism. Of course extremely good and thoughtfully presented live action works still exists; if it's filmed and/or presented thoughtfully and meticulously enough, then it can be similarly poignant as an excellent work of animation. But outside of like, auteurs, this does not usually happen.

This particular example is not from some troubled source material with lost potential or any severe caveats in visual presentation. This is fucking. ATLA. Like, the animation isn't as massively funded as a Disney Renaissance ig?? But for 2000s cartoons, it was insanely forward and completely holds up today, it's still cherished today. And ATLA in general was a masterpiece. It still IS a masterpiece!! It hasn't gone and fucking died in need of a replacement!!!

So there's just no way I can see it worth my time to dedicate my time to an inferior version of an awesome show that already exists.

It's just obvious that this show only exists so Nickelodeon can boost the profitability of [BRAND]. Love to the good honest crew and actors for the show, love that they're carrying out childhood dreams and getting to do promos with the original VAs and all. Wake me up when the animated ATLA films come out.

[f0rt1e]

Devlog #0 | An unexpected journey into a game development

What does it take to go from gamer to game creator, especially when you're the team's artist, coder, and tester, all rolled into one? I would like to have an answer!

In this blog, I invite you to join me at the very start of an (hopefully) exciting journey: developing my own indie game, solo. As I dive into the territories of game design and coding, I'll be sharing regular updates about my progress, the hurdles I encounter, the solutions I discover, and the lessons I learn along the way. 

Whether you're someone who's interested in the behind-the-scenes of game creation, a fellow developer, or perhaps someone thinking about starting their own project, this blog will give you a window into the real-time ups and downs of bringing a game to life from scratch.

So why do I want to dive into a gamedev? You know, I've always been hooked on video games, always curious about the magic that goes on behind the scenes. Back in school and through university, I dabbled in a few courses on Unity, GameMaker, and Unreal Engine. But, to be honest, I never really threw myself into it—either the motivation wasn't there, or the ideas just didn't spark. Fast forward a few years, I've kicked off a career in tech, working now as a technical architect, yet my love for games hasn't faded a bit.

Recently, I found myself thinking, "Why not take a crack at the gaming industry?" But with little direct experience or relevant skills, just a ton of passion and a nagging curiosity, I realized I needed something solid to show for myself. So, I signed up for some new courses and decided to start my own little project. It’s sort of a mini-portfolio, something to back up my leap into game development. Let's see where this goes!

Sparkling idea

Lately, I've really gotten into city builders. I've played everything from SimCity to Cities Skylines, and from Banished to Settlers — not to mention the recent Manor Lords. It's been a blast, but sometimes these games can get a bit too intricate and overwhelming. That got me thinking — what if I could create a game that's more laid-back, user-friendly, and just easy to dive into? That's when the idea hit me: why not develop a medieval city builder? I imagined a game with a straightforward economy, some interesting research and discovery elements, but nothing too complicated. With just that simple concept in mind, I started developing my game.

As I mentioned, I was somewhat familiar with Unity, so naturally, I started my project there. I even made some headway — created an island with procedural generation complete with biomes and objects like rocks, trees, and flowers, got some pathfinding in place, and even prototype of a building process. But it didn't take long to realize that Unity might be a bit overkill for what I had in mind. My project wasn't that massive, and Unity felt too complex for my needs.

So, I began looking for something a bit simpler and more user-friendly. That's when I stumbled upon Godot. At first, Godot seemed a bit mysterious, but I decided to dive in and give it a shot. I'm really glad I did! Despite a slight shortage of learning materials, Godot has been a dream to work with. It's flexible, feels more approachable, and has everything I need for my 2D city builder, which, by the way, is going to be in pixel art style.

Right from the start, it's clear that being an artist is pretty much a prerequisite for game development. Sure, you could take the easy route and just buy or download assets, but where's the fun in that? Here's the thing—I'm no artist. Drawing a square is about as artistic as I get, and even then, it's a pretty questionable square. So, learning to create my own graphics was a big hurdle I had to overcome. Pixel art caught my eye because it seemed like it had the most forgiving learning curve for a beginner like me. So, I decided to give it a shot.

Current state and future plans

So here I am, just starting out with my project. I recently moved everything over to Godot, and it feels like a fresh start. Right now, I've decided to put the procedural generation on the back burner. Instead, I'm prioritizing what really matters to me at this stage—creating my first pieces of art, laying down the basics of the road system, buildings, navigation, and sketching out the interface placeholders. I’ll dive deeper into the progress I’ve made in my next post.

It's been almost two months since I started developing this game, and boy, it’s been a journey. There aren’t always clear-cut answers in game development—it’s more like an art form, with your imagination and ideas being the only real limits. I’m constantly faced with new questions and challenges, but that’s what makes this process so exhilarating.

I’m really hoping this is the start of something great, not just another fleeting idea. I want to see it grow into something both playable and visually appealing that I’ve created myself. I’ve got plenty of ideas buzzing around, and I’ll be sure to share them as the game develops and hopefully bring them to life.

Just a note to my future self: all you started with was an idea, interest, and a challenge to yourself.

Keep an eye out for more updates—I’ll have more to share very soon!

By the way - here is the photo of a project 2 months ago:

This white square is a house. Believe or not.

[magickedteacup]

After weeks of letting it percolate, I just spewed out 2.5k words of new material for the animation novel. It’s the kind of stuff that I wouldn’t have been able to write even 3-4 months ago, because I didn’t really understand what it meant to have professional and/or industry standards for art until I started drawing again, and sort of actively developing my visual arts skills again, and learning what it meant to draw consistently and following arts principles, because the practice of drawing 2D animation forced me to learn how to draw with greater consistency.

So, amazingly! The circle of life put me in a position where I could get close to, and yet not close enough, to the possibility of publishing my animation novel, until the day that I could with great confidence say that I actually do what it is that I write my characters doing. Or, you know, close enough. And then revise the novel with the first-hand experience of that.

[configiratot]

Enhancing Business Presence: Harnessing the Power of 3D Rendering

In the fast-paced world of business, staying ahead of the curve is paramount. Whether you're in architecture, interior design, real estate, or product marketing, captivating visuals can be the key to success. In this digital age, where first impressions are often made online, the power of 3D rendering cannot be overstated. Let's explore how integrating 3D rendering into your business strategy can elevate your brand presence and drive success.

1. Immersive Visualization

Gone are the days of flat, 2D images. 3D rendering allows you to create immersive visualizations that bring your ideas to life. Whether it's showcasing architectural designs, interior layouts, or product prototypes, 3D rendering provides a level of detail and realism that traditional methods simply cannot match. By presenting your concepts in a visually stunning manner, you can captivate your audience and leave a lasting impression.

2-Cost-Efficient Prototyping

In industries like product design and manufacturing, creating physical prototypes can be time-consuming and costly. With 3D rendering, you can digitally prototype your products with ease. This not only accelerates the design process but also allows for quick iterations and modifications. By streamlining the prototyping phase, you can save both time and money while ensuring that your final product meets the highest standards of quality.

3. Personalized Marketing Materials

in today's saturated market, generic marketing materials often get lost in the noise. 3D rendering offers a solution by allowing you to create highly personalized and targeted marketing materials. Whether it's creating bespoke product visualizations or tailoring architectural designs to specific client needs, 3D rendering enables you to create content that resonates with your audience on a deeper level. By speaking directly to your customers' preferences and desires, you can drive engagement and conversion rates like never before.

[fashionbooksmilano]

Digital Visions for Fashion + Textiles

made in code

Sarah E.Braddock Clarke and Jane Harris

Thames & Hudson, New York 2012, 240 pages, 21x29,3cm, Hardback, 429 illustrations,ISBN 978-0-500-516 44-7

euro 48,00

email if you want to buy booksinprogressmilano@yahoo.it

An exploration of the incredible advances in computer-aided design and its revolutionary impact in the fields of fashion and textiles

The invention of the Jacquard loom in the 18th-century century paved the way for computing and revolutionary change. From its punch-card origins, code has evolved to enable new methods in design, visualization and production, achieving the previously unimaginable.

Digital Visions for Fashion and Textiles considers how computing has reinvented image, material and structural processes, highlighting newly advancing 2D, 3D and interactive output. Pioneering shifts of practice have developed from hybrid technical and creative collaborations. Digital and analogue fusions are defining new contexts for the innovative fabrication of surfaces, products and environments.

Twenty-two of the most forward-thinking practitioners, established and emerging, who have embraced developing digital technologies are profiled. Featured are household names, such as Hussein Chalayan, Prada and Issey Miyake, early pioneers (Vibeke Riisberg, Peter Struycken) and more independent, avant-garde individuals (Iris van Herpen, Casey Reas, Tom Gallant).

Complete with a reference section and bibliographic information, this unique and richly illustrated book is the perfect resource and inspiration for designers, students, industry professionals, and anyone looking for an exploration of how computer technology has creatively permeated fashion, textiles and related digital sectors.

11/01/04