Mari is a texturing software that can be utilized in different ways to achieve similar yet slightly different goals. In some cases, texture artists tend to stick to a “safe” path instead of trying a more versatile approach when working on different assets.
Let’s take a deep dive into how artists can work smarter in Mari by shifting their setup and creating different, more creative workflows based on the complexity of an asset. As you progress with the new workflow, you’ll see how Mari allows you to be more dynamic, instinctive and creative as a texture artist.
After studying car design in Italy, Andrea moved to London in 2014 to study visual effects at Escape Studios. Andrea’s professional VFX career started at Atomic Arts studio, where he worked as a TD Generalist. Soon after, he continued his journey by joining DNEG TV as a TD generalist focusing on asset development and lighting. He then moved on to work at Framestore, where he was a Texture Artist for almost four years.
In 2021, Andrea joined ILM as a Senior Texture Artist and later on, MPC where he currently resides as a Key Texture Artist.
Andreas has worked on extensive projects for TV series and movies such as Altered Carbon, Assassin's Creed, Christopher Robin, Paddington 2, Spiderman Far from Home, Alita, Midnight Sky, and Matrix Resurrection.
Having started at Foundry in late 2016, Charli has worked in a number of roles across the Lookdev & Lighting suite. Beginning in the Customer Support team and then working behind the scenes within our Mari engineering team, Charli has always had a strong focus on the user experience; being a internal advocate for the artist and ensuring that quality is never compromised.
Since 2021, Charli has been working to reduce pain points in the day to day lives of artists and has taken great steps in creating an improved artist toolset across both Mari and Katana as Associate Product Manager