WG: Give us a little information about your process. How long does it take you from conceptualized to a finalized piece of art? What software programs or tools do you utilize?

Yasmin: First I receive direction from the client as to what they're looking for as well as what limits we are to meet for the particular game, such as poly limits etc. I also receive a concept, which sometimes comes from MB's concept department, sometimes from the client, or no concept comes at all and I gather reference based on what the client has asked for. I then create a model in Luxology's Modo, usually this model will be the final game resolution model (maybe 10,000 polys for example), which is then unwrapped for UV texture sheets. Next I bring the model into Pixologic's Zbrush, subdividing it into millions of polys for further detail, which is captured in a normal map or displacement map to be applied to the original model. This whole process usually takes around 3 weeks, give or take time getting feedback and making necessary changes at the client's request. That's where my work ends and the model is passed on to the texture department, and eventually the animation department.

Jessica: At work I usually have a deadline of between 2-7 days on an asset. There are several steps preceding the texturing phase so I usually have a concept image when I get started, and it is my job to materialize the concept in the texture. I use Photoshop for the bulk of the work, Deep Paint for fixing seams, and Maya as a viewer. With my personal work I usually spend a few days mulling over my concept and finding inspirational ref material, sometimes I take photo ref myself with the help of others. Then I spend around 2 weeks on the digital painting itself. I tend to stick to the same 3 brushes: a round brush, an airbrush, and a ‘grungy’ brush. The opacity is usually set between 25-75% to build up layers & model form.

WG: What hurdles have you had to overcome being a woman in the male dominated industries of game and art design? What advantages or disadvantages are there in being a woman in the industry, if any?

Yasmin: First off I'd like to think good work speaks for itself, and gender shouldn't come into play really when working or getting a job.

I would assume that hurdles, advantages, or disadvantages about being a woman are not game industry related so much as simply being in a male dominated workplace in general.

Relationships between men and women can be complicated in most any situation and you may have to face the fact that you won't necessarily be able to relate to the guys in the same way that they will relate to each other. I learned the importance of maintaining a level of professionalism and being aware of what kinds of signals I was sending to others about who I am or what my goals were.

Advantages? Besides the fact that I met my boyfriend at Massive Black? And that I ended up with a whole bunch of brothers that support me in the office or make sure I'm home safe after I party a little too hard?

Jessica: I’ve experienced hurdles being a woman in the work force, but I can’t say that any of them were specific or unique to the games industry, regardless of whether they occurred while I was working in games or not. I’ve had situations where a guy misinterprets my friendliness for something more, but that has more to do with a miscommunication between a guy and a girl than it does with our jobs. It could happen anywhere. I’ve actually found that I feel like I fit in better in the games industry, and make closer friends in the workplace due to similar interests, than I did when I was growing up working in the largely female dominated clothing retailers. I was the tom boy that liked comics, games, and punk music. The games industry has provided me with a family of people who appreciate the same art, escapism, creativity, demon-slaying-sharp-shooting-lazer-beaming-rocket-launching-role-playing-fun that I do!

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