#all the concept art and illustrations and environmental concepts - environmental art - animations - lighting - set designs - models - vfx

[felassan]

Dragon Age: The Veilguard concept art and illustrations by Albert Urmanov, under a cut in case of spoilers.

Props -

Albert Urmanov: "Lighthouse table Concept for the main Lighthouse table. This is the place where the crew is getting together to discuss latest events and plan ahead" [source]

Props -

"Antivan furniture Antivan furniture concepts" [source]

Illustrations -

"Getting the gang together Illustration done for Dragon Age: The Veilguard" [source]

"Meet Bellara Illustration I did to capture the moment we meet Bellara for the first time in Arlathan Forest." [source]

"Round table This was a fun task - I wanted to show the personalities of our followers through their poses and the way they were sitting around the table, discussing all the latest events etc. Even a small and seemingly simple thing as sitting down can actually express and tell us a LOT about someones personality. Are they relaxed? Is someone falling asleep? Maybe someone can´t sit still because of some reason etc etc. Happy that we stayed pretty close to the concept in the final game!" [source]

"Assorted Illustrations" [source]

Art by Albert Urmanov.

[ludoai]

How to Create a Game Design Document

Creating a comprehensive game design document (GDD) is crucial for the successful development of a video game. It serves as a blueprint that outlines the concept, mechanics, characters, story, and overall vision of the game. In this guide, we will walk you through the process of creating a well-structured and informative GDD, ensuring that your game development journey starts off on the right foot.

Section 1: Executive Summary

The executive summary is a concise overview of your game. It should provide a high-level description of the game's genre, target audience, unique selling points, and core gameplay features. Keep it brief but compelling to grab the attention of potential stakeholders.

Section 2: Game Concept

In this section, articulate your game's concept in detail. Describe the theme, setting, and the emotions you want to evoke in players. Discuss the main mechanics, gameplay loop, and the overall experience you aim to deliver.

Section 3: Gameplay Mechanics

Outline the core gameplay mechanics that will drive your game. Explain how players will interact with the environment, characters, and objects. Describe the controls, camera system, progression systems, and any unique features that set your game apart.

Section 4: Story and Characters

If your game has a narrative component, provide an overview of the story. Introduce the main characters, their motivations, and relationships. Include key plot points, twists, and the overall story arc. Additionally, discuss how the gameplay and story will intertwine to create a cohesive experience.

Section 5: Game World and Environments

Describe the game world and its various environments. Discuss the art style, level design, and any interactive elements that make the world engaging. Provide concept art, reference images, or visual descriptions to help the team visualize the game's aesthetics.

Section 6: Level Design

If your game consists of levels or stages, provide a detailed breakdown of each level. Discuss the objectives, challenges, and puzzles players will encounter. Include sketches or diagrams to illustrate the layout and progression of each level.

Section 7: User Interface and User Experience

Explain how the user interface (UI) will be designed and how it will enhance the gameplay experience. Describe the HUD (heads-up display), menus, buttons, and any other UI elements. Consider usability, accessibility, and the overall flow of information to ensure a smooth user experience.

Section 8: Art and Visual Design

Discuss the art style, visual references, and the overall aesthetic direction of the game. Include concept art, character designs, environmental assets, and animations if available. Provide guidelines for the art team, including color palettes, lighting, and visual effects.

Section 9: Audio Design

Outline the audio elements of your game, including music, sound effects, and voice acting if applicable. Discuss the intended mood, atmosphere, and how audio cues will enhance gameplay. Consider collaborating with composers and sound designers to create a unique sonic experience.

Section 10: Technical Specifications

Detail the technical requirements of your game. Discuss the platforms you intend to release on and any limitations or considerations associated with each platform. Include information on performance targets, networking capabilities, and compatibility requirements.

Conclusion:

By following this guide and thoroughly addressing each section, you can create a comprehensive and informative game design document. Remember that the GDD is a living document that evolves throughout the game development process. Regularly update and communicate changes to keep all stakeholders aligned and ensure a successful game development journey.

[brinytrolls]

heyy!! i really like your work and think you're SUPER MEGA cool, and hope you get REALLY good at animating!! drawing is the first step, so making it move is the next haha. (once i save enough for a tablet i'll practice a lot!!) but i have a question: how do you improve as an artist? do you actively seek out critique or does it come with time and sub-conscious decisions to not do the bad thing anymore? what did you do? love you, keep fredding on!! ----some stupid idiot who wants to be anonymous

thank u anon this is super sweet!!! it means a lot<3 

also ive been an animation student for 5 years now so i know a little bit but probably, less than i should.....i do Not practise enough

as for tips! let me try and compile a short list of things that help me! 

• u hear it all the time but its true-practise practise practise!!! sketchbooks, digital, whatever strikes ur fancy. practising is the MOST important thing u can do 

• understand and research the basics. you dont need to be an expert on anything, god knows im not, but its good to know a bit! this includes but isnt limited to: 

colour theory! why colours go together, what colour schemes look good, etc. heres some basics on it! personally

[i also find symbolism of colour just as important. obviously symbolism varies from person to person and culture! but heres a quick guide on the usual symbolism of colour. if something sounds wrong to you though, mess with it yourself!] 

tthe form of subjects-this means drawing basic shapes, and using them to construct [basically] anything! the idea is its much easier to draw and move around a series of cubes and cylinders, than a whole human body. heres a guide on how form works. 

draw a box is a challenge recommended to me by my lecturer for improving on drawing shapes and forms! i highly recommend it!

value and lighting are important! heres an explanation on value. im not sure much can be done to cheat lighting and value, except for master studies (we’ll get to that shortly!) and observation. 

the most useful tip on value ive learned, is to turn your art black and white, and see if it all has enough contrast without colour. if not, time to work on the values! 

composition, babey. how subjects are arranged in a piece. heres a bunch of stuff on it [im still learning this one...rule of thirds i will Die for tho]

anatomy! this is the hardest shit. i still dont get it. my lecturers recommend andy loomis [heres a pdf of his figure drawing book] idt his way was quite up my alley, but u never know! 

• speaking of anatomy-life drawing is an INCREDIBLY useful reference. so goddamn useful, u dont even know. they help u figure out anatomy! this includes gesture studies, and more detailed things. i recommend googling how a typical life drawing class goes down/tips for it

life drawing classes are very difficult to access atm, so here are a couple of online resources! [all of these will obv contain nude bodies]

croquis cafe-contains free videos that simulate a life drawing class! videos are more useful than images. has a variety of ethnicities and body types, which is wonderful!

line of action- a site with a variety of images on figure drawing, animal drawing, as well as hands & feet, expression/face focus, and environmental things. you can set it to play as a slideshow for as long as u like, or set it up to be similar in timing to a real life drawing class

online stock photo artists such as senshistock, who has compiled a useful little list of similar accounts over here!

•  reference reference reference!! references are so incredibly useful, and anyone who tells you using a reference is cheating is wrong on every conceivable level. reference from photos, from movies, from videos, everything. 

something ive had to do in every level of art education is recreations and master studies. 

this means collecting artists work from professionals-be it historic painters, movie screenshots, concept artists, anything! 

it makes you focus on their compositions, how the lighting works, the colours used, pretty much everything. 

this is useful bc it can 1: get you out of your comfort zone and 2: make you use new techniques you might never have considered 

online tools such as designdoll and justsketchme have poseable models for you to pose as you please and reference from! suuuuper useful, especially for perspective poses.

• experimentation! fuck around. use brushes youve never used before, try a new medium, collect every free sample from the craft store and just Do Shit with it. 

•  absorb every goddamn piece of art u have ever come across, and save what you enjoy. 

and i mean save everything you enjoy. u like a movies lighting? a certain shot? an outfit? a random piece of fanart u came across? save it! look at it, figure out what it is u like 

make a private pinterest board or a folder on ur computer, save everything.

absorb and yank bits from art u enjoy. obviously dont imitate someones entire style, but if u like the way someone draws hands, or noses, or eyes, reference it. recreate it. see what u like, and incorporate it into ur own art

art is a big mess of taking things u like and making it ur own 

•  study professionals! animations, artists, illustrators. they know what they’re doing. 

heres a useful resource with a lot of rare concept art from animated movies! i go here a lot.

buy art books, or acquire pdfs of them, im not a cop, i dont care 

• as for critique, i do look for critique, and pay attention to it, but it’s important to know not to take it personally. and i recommend asking people whos opinions you value! 

i think thats all i can think of right now in terms of General Art....

if u want me to elaborate on anything or show me art, ask for help or just talk art stuff [character design is my fav and my speciality, ive been studying it for a while 👀] please dont be afraid to dm me or just send me another ask! 

best of luck anon, i rly hope this helps! :D

[3rd-year-uos]

MAJOR PROJECT PROPOSAL and SCHEDULE

Background information including justification for your Major  Project theme selection

The  Justification for choosing the theme of the natural world for my Major  Project is an interest in the East Anglian coastline in particular and  visiting the multiple different beaches during the lockdown in the summer of  2020. This will be centered around the depiction of landscapes and seascapes  in my work.

 The  theme of my work will be the natural world, however this will be based  primarily on looking at how the natural world can be represented with a  completely manmade object, such as an iPad.

 During the  first and second year of my degree I was most interested in the Lens Based  media taught modules and this is an area of art that interests me the most  and sparks the most creativity for me. I want to be able to develop my digital  art skills and discover new processes and acquire new skills through my  practice. Therefore for this module I have purchased an iPad pro to enable me  to use lots of different features to create art digitally in situ and back in  the studio as with this iPad you can draw on the iPad which is great rather  than having to use software like photoshop which is more of a desk top computer  based program.

 The Project

For this project I have decided to  explore the natural world and this will be in the form of natural ‘scapes’  such as seascapes and landscapes of the East Anglian coastline. This will be  conducted through the medium of digital art and will encompass a range or  different digital art techniques such photography, 2D Digital painting,  Digital collage in my experimentation. I will use my own photography as a  primary resource and also digital sketches made on my iPad to create final  images/ pieces from.

 I will visit different locations along  the East Anglian coastline and take photographs of the ‘scapes’. Then create  digital artworks from the photographs I have taken as primary resources. As  this is an area of art that I haven’t worked with extensively before, there  will be a lot of learning new skills and experimentation to develop new  techniques for myself to utilise to the best of my ability the apps I will be  using.

 I will be exploring a range of artists  to include both digital artist to research and explore the techniques they  have used in their work but also landscape and seascape artists to research  composition and colour for my own practice.

 Some of the digital artists I am  interested in are David Hockney. Although he is not typically categorised as  a digital artist Hockney made a series of work in 2008 using an iPad as the medium.  These works consisted of Landscapes, Portraiture and Still Life; this is of interest  to me to research as this is the same process I wish to explore in my own practice.  Another artist of interest would be Nik Ainley for his use of colour in his illustrations  incorporating 3D text and Jason Naylor for the same reason. Also, Olly Moss  as he creates illustrations digitally often incorporating the natural  landscape with a reduced colour pallet which I would also like to experiment  with.

 Some of the ‘scape’ artists I am  interested in looking into range from more traditional artists such as  J.M.W.Turner who is renowned for his expressive use of colour in his  landscapes and seascapes. Also, the artist John Constable who was from  Suffolk and painted landscape paintings of the local area. More modern  artists from the 21st century that are of interest are people such  as Samantha Barnes a painter, who is also based in Suffolk and paints  abstract seascapes on canvas using lots of block colour. Garry Raymond  Pereira is an artist exhibiting in Cambridge in October 2020 this is an exhibition  I will be going to visit to see his seascapes and landscapes in person, in a  gallery setting.

 I will be recording my artistic  progress in the form of a blog on Tumblr. This blog will equate to the  required 80 pages (160 sides) of A3, my blog will include visual experiments,  development and written reflections / evaluations and final creative  outcomes. My blog will equate to the same as a physical sketchbook. I like  the idea of using a blog particularly for a project that I have based upon  digital art, to me it would seem to be rather contradictory to my practice to  then research and document my process and progress on paper.

 Outcomes

The outcomes of my work in this module  will be a series of pieces. I will have between three and ten images/  animations at the conclusion of this module. I will present these digitally  either through the medium of video or still imagery on a selection of screens  with appropriate lighting or back lighting. I anticipate these pieces of work  to be on the more abstract scale.

 The reason for presenting my final  outcome of work in a digital format is to preserve the colours that would not  be fully recreated if the image were to be printed. Also, some are likely to  have elements of movement in the form of animation and this could not be  represented on paper, for uniformity all the pieces, whether still images or  animated, will be presented digitally.

 I would like to incorporate some of  the natural landscapes into the presentation of my final images by having the  screens resting on either chunks of grass or rock that has been depicted in  the corresponding piece of art that I have created digitally to have the  comparison and create a metaphor for the natural world supporting the digital  world or vice versa. Therefore, I anticipate the work to be categorised  somewhere between digital art and installation art.

  Proposed Research Sources (Harvard Format)

   Mount, N., Harvey,G., Aplin,P.,  Priestnall,G. (2008) Representing, Modeling and Visualising the Natural  Environment. CRC PRESS.  

 Warnke,M. (1996) Political Landscapes:  The Art History of Nature(Essays in Art and Culture). Harvard University  Press.

 Brooker,S. (2018) Essential Techniques  of Landscape Drawing Master the concepts and methods for observing and  rendering nature. Watson-Guptill Publications.

 Sum,B., Safadi,S., Hopkins,L. (2013)  Digital painting techniques. 3DTotal Publishing.

 Benjamin, W. (First edition  1936) (2008) The work of art in the age of mechanical  reproduction. London: Penguin.

Hughes, P. (2015)  Exhibition design: an introduction. 2nd edn. London: Laurence King  Publishing.

 Wagner,D. (2016) Environmental Ideology  in Art TEDxMHK. Avaliable at: https://www.youtube.com/watch?v=Lqjgs6b8XPU  (Accesses: 06/10/2020)

 Key Considerations and requirements including Materials and Costings

 The key things I must consider are any  limitations coronavirus might bring such as lockdowns where I possibly would  not be able to travel to the coast to take photographs for primary research.

 The materials I will be using will be  minimal as my work will be all digitally based. An iPad is essential to the  type of art work I want to create primarily using an app called Procreate and  the use of an Apple Pencil. All of the photography will be taken on an iPhone  or iPad or a Samsung NX1000 camera and kept in a digital format therefore  there is no cost for printing either. I will also experiment with a Polaroid  Fujifilm Instax Wide 300 Instant Camera. There will, of course, be a small  cost for film for the Polaroid camera, approximately 80p per image.

 Costings for my work are initially  quite high to buy a new iPad and accompanying equipment I will require is a  cost of £1450. Any apps or computer programmes that I will require to carry  out my art work may incur an additional cost.

 I anticipate that my work will be  displayed digitally therefor there will be no cost of printing for the final  piece however their may be a cost for screens or additional digital apparatus  that I use to display my images with on at completion of the module.

Schedule / Semester 1

24/09/20

Think  about the theme for this project and decide on what medium to focus on

Note  taking, internet for research

01/10/20

Exploring  seascapes and taking photographs to use as primary sources from Aldeburgh

iPhone/iPad/camera  to take pictures on

08/10/20

Artist  research – Visiting the exhibition of work by Garry Raymond Pereira

iPhone/iPad/camera  to take pictures on, note taking

15/10/20

Artist  research, sketchbook/blog work

Tumblr  blog

22/10/20

iPad  arrives! Set up and get to grips with how it works

iPad  and supporting apps

 Reading Week

05/11/20

Learning new techniques and art processes

iPad  and supporting apps

12/11/20

Learning new techniques and art processes

iPad  and supporting apps

19/11/20

Exploring seascapes and taking photographs to  use as primary sources

iPhone/iPad/camera to take pictures on

26/11/20

Learning new techniques and art processes

iPad and supporting apps

3/12/20

Artist research – visiting the Tate Britain  Exhibition to view work by J.M.W. Turner

iPhone/iPad/camera to take pictures on, note taking

10/12/20

Exploring seascapes and taking photographs to  use as primary sources

iPhone/iPad/camera to take pictures on

21st  December – 22nd January

Christmas  Break

Schedule / Semester 2

28/01/21

Create  artworks

iPad

4/02/21

Self-critique  of work thus far

11/02/21

Create  artworks

iPad

15th – 19th February

Reading Week

25/02/21

Exploring  seascapes and taking photographs to use as primary sources

iPhone/iPad/camera  to take pictures on

04/03/21

Source  screens and other equipment I will need to exhibit my work with.

11/03/21

Finesse final image selection for final piece  to exhibit

iPad

18/03/21

Think about the resources I will need to  present my final piece

Screens,  lighting, background area

25/03/21

Prepare the space in which I will exhibit

Paint to create a clean, fresh space for my work to be  exhibited.

29th March – 16th April

Easter  Break

22/04/21

Set up final piece

Screens to display my work on, cables and electrical  points, safety equipment to make the area safe for people to view to tidy  away all cables etc. supporting work to be displayed in the form of my blog.  

29/04/21

Review exhibition

6/05/21

Take down final piece

To remove all apparatus that has been used in the  installation of my work.

[robinknightholidayhomework]

Industry Investigation

Pick your 3 favourite games studios or publishers the ones you would want to work at/with in the future.

Gearbox Software

Research about the studio / publisher itself: Gearbox Software was founded in 1999 in Texas, United States. They are known for  developing games such as, the Borderlands Series and battle born.  The first individual game they released was called Brothers in Arms in 2005. although initially they began by creating expansion packs for Half-Life.

Games they have released consist of Brothers in Arms (2005), Borderlands (2009),  Duke Nukem (1991) And Homeworld(1999).

Job Roles/ opportunities:

Level Designer: Required Skills, 

Bachelor’s degree or the equivalent in Interactive Entertainment or Animation and up to two years of experience in Design (Narrative, Cinematics, Level or Combat Design)

audio Designer/ Music Composer Required Skills

Strong sound design skills and an acute ear for audio production detail.

Experience with location and in studio sound effects recording.

Experience with game audio implementation methods.

A strong portfolio that demonstrates musical diversity.

Experience with recording.

Experience with live performance.

Level/ Lighting Artist Required Skills

Create exciting and attractive environments that are lush with detail and interesting scene composition

Collaborate with level & game designers to achieve visual goals while balancing gameplay and performance objectives

Study and follow game design documents to know the story, style, objectives, atmospheres and environments to create game levels

Work with Level Artists, Level Designers and Mission Designers to create lighting for all game environments.

Work with Cinematics to create lighting for cinematic moments, both real-time and pre-rendered.

Environment Artist  Required Skills

Work within or help establish different types of style, including styles set by other artists or art directors

Have expertise in illustrating environmental pieces in different settings (Sci-fi, fantasy, modern, etc) and properly breaking these elements out in a straight forward production sense beyond inspirational illustrations

Comfortable receiving or giving critiques

UI artist

Work closely with UI artists, programmers and Project Directors to drive interface style and function.

Create wireframes and mockups that visually communicate game features.

Create art assets like graphics, animations and icons as identified by the UI Lead.

Bungie

Research about the studio / publisher itself: Bungie is an American company, created by Alex Seropian in 1991, Alex hired Jason Jones after he released minotaur: The Labyrinths. The company began to become popular after they had released the Myth and Marathon series’s. Microsoft brought Bungie in 2000 and produced their most popular games series to date, Halo in 2001. Bungie would eventually split ways with microsoft in 2007, losing ownership of the Halo  franchise. Bingie would then go on to produce Destiny (2014) and Destiny 2 (2017)

Job Roles/ opportunities:

AI Designer Required Skills: 

Intuitive understanding of what makes a combatant a memorable experience and what players are looking for when they fight them

Effective communication skills and a deep desire to work closely with other disciplines

Able to break down what is not working on a character and the ability to convert that knowledge into realistic methods to solve issues

Experience scripting or code

Understanding anticipation, follow through, character and timing

Economy Design Lead  Required Skills:

Experience as a senior economic/progression systems designer with at least one shipped product under your belt (or other relevant experience)

Experience designing, documenting, and executing itemization, investment, or any other fundamental RPG game system at any scale

Experience managing a multidisciplinary team

Ability to model your in-game economy in a software package of your choice

Ability to creatively align with the leadership team and then take initiative

Gameplay Designer  Required Skills: 

Intuitive understanding of how second-to-second action games work and why people play them

Previous experience working as a systems/gameplay designer or similarly working on action centric titles

Good understanding of game engines, technology and the game development process

Experience with many modes of online play

Lead Combat Designer  Required Skills:

Experience as a combat, sandbox, or systems designer on a shipping product

Experience designing and documenting weapon systems, damage systems, abilities, or any other fundamental action game system

Experience tuning complex game combat systems such as aim assist cones, control response curves, and AI behaviors

Scripting or coding experience (Python, LUA, C++, etc)

Treyarch Studios 

Tryarch was founded in 1996 by Dogan Koslu and Peter Akemann and was later acquired by activision in 2001 and was merged with Gray Matter Interactive in 2005, Treyarchs first major game was James Bond: Quantem of solace in 2008, although the first game they released was “olympic hockey ‘98″ which was released in 1998. Treyarch are best known for their part in the Call of Duty franchise, starting with “call of duty 2″ in 2005 and still continuing the franchise with “call of duty: black ops Cold War” which is set to be released in 2020

Job Roles/ opportunities: 

Temporary Associate Level Designer required skills:

Strong understanding of scene composition and ability to set dress an environment

Translate concept and Art direction into a believable space

Manage integration of asset requests while maintaining performance targets

Experience creating modular kits to help reduce scope of environments

Technical animator required skills:

4+ years of experience in game industry

2+ years of experience as a Technical Animator

Expert knowledge of Motion Builder, Maya

Broad knowledge of overall game technology.

Weapon artist:required skills:

An incredible passion for 3D art and First Person Shooters.

4+ years of experience working within game development.

Excellent abilities in hard surface modeling.

Excellent abilities in photo-realistic texturing and surfacing work.

Concept artist required skills:

Strong knowledge of Photoshop.

Understanding of traditional artistic skills, composition, rendering, anatomy, color theory, perspective, lighting, environment, architectural, character, and graphic design.

Solid drawing fundamentals, along with traditional painting and rendering techniques.

[cosmicsynthetics]

CosmiSynth Commission Info! (Rebloggable Version)

IMPORTANT NOTICE: All payments must be made upfront! I will not take IOUs or payment plans unless I’ve expressly offered them to you.

LOVES TO DRAW:

Aliens (especially ones with beast-like features)

Monsters

Fantrolls

Irkens

Redesigns/Revamps of Characters

Artsy Landscapes and Trees/Plants

Colorful/Atmospheric Lighting

WILL COST EXTRA:

Regular Humans

Extremely Complex Character Designs

Detailed Vehicles or Machinery

Hyper-Realistic Drawings

Ultra-Specific Drawings (Example: Fic Illustrations)

WILL NOT DRAW:

NSFW with minors (SHOULD BE OBVIOUS)

“Ageplay”, diaperfurs, etc. (specifically anything that sexualizes minors/things associated with minors)

Scat & Watersports

Extreme Gore

Incest

Non-Con

* NOTE: If you can’t figure out if your request falls under any of these categories, just ask me.

PLEASE NOTE:

I reserve the right to refuse any and all commission requests.

Please do not ask for discounts; my hourly prices are only $2 over the minimum wage in my state (~$10.10 vs $12.00 an hour as of 2018). Paypal deducts a reasonable amount of money off my earnings, and depending on the commission you may technically be getting cheaper hourly prices than what’s listed. Though I love doing art for a living, it’s not easy on the wallet.

You may request small edits during the drawing process, but I will not redraw your commission several times for free.

WORK SCHEDULE:

Timezone - EST

TUESDAY: 12pm-8pm  THURSDAY: 12pm-8pm SATURDAY: 12pm-8pm SUNDAY: 12pm-8pm 

DAYS I’LL BE ACCEPTING COMMISSIONS:

ANYTIME - but an immediate reply is more guaranteed on our work days. @AltamaranEmpire and I will probably be unavailable on some holidays too.

Also, please no “day of” commissions unless they’re very small. Having at least a couple days to get something done is a -must-.

SLOTS AND WAIT TIME:

Right now I’ll be taking as many commissions as I can and they’ll be done based on a combination of order, complexity, and time sensitivity (an upcoming birthday would be higher priority to me than a character bust with no set deadline). Though in a perfect world I’d do commissions -only- based on order received, my goal is to keep a smooth flow and make sure nothing falls to the wayside.

Though I’m still testing my limits, It should take about a month at max to complete your commission unless it is particularly large/involved. If it’s been over a month since I accepted your payment, you have every right to contact me and politely ask for a progress update. Similarly, if something big happens in my life that could affect how quickly I get something done, I’ll make sure to post about it and keep you all up to date!

————————————————————–

COSMISYNTH SPECIALS (“CosmiSpecials”)

STANDARD

“Doodle Page” (A page packed full of various free-form sketches) - $12

“Doodle Page+” (A page packed full of various free-form sketches with color and shading) - $24

PIXEL ART

“Micro” (29x29) Icon w Chat Bubble - $6

“Micro” (29x29) Icon w Chat Bubble (Bouncy Animation Added) - $8

REDRAWS AND REDESIGN ADD-ONS

“Cosmic Concepts” (Drawing of your character without a visual reference) - PRICE VARIABLE based on complexity but GENERALLY +$12

“Cosmic Makeover” (A Redesign/Reinterpretation of your character) - PRICE VARIABLE based on complexity but GENERALLY +$6

————————————————————–

STANDARD CHARACTER COMMISSIONS

BASIC PRICES

Bust - $6

Partial/Waist-Up - $12

Full-Body - $18

ADD-ONS

Color - +$6

Complex Color (Lots of Colors/Very Specific Markings or Patterns) - +$12

Shading - +$6

Fancy Shading (Atmospheric Lighting/“Higher Def”/Textured) - +$12

BACKGROUNDS

Simple BG (Simple Scenery, generally unshaded/less specific) - +$6

Regular BG - Natural Landscapes - +$12

Regular BG - Buildings/Urban - +$18

Complex BG (Very Defined structures, Complex environmental shading, etc.) - +$24

————————————————————–

PIXEL COMMISSIONS

BASIC PRICES

Character Pixel Icon (Colored and Shaded - 64x64 or smaller! Please specify desired size) - $12

ADD-ONS

Animations - PRICE VARIABLE

————————————————————–

TALK SPRITE COMMISSIONS

BASIC PRICES

Waist-Up Talk Sprite (Only One Expression. Can be pixel art OR regular) - $12

Basic Talk Sprite Pack (5 Expressions. Please Specify!) - $30

ADD-ONS

Two(2) Additional Expressions - +$6 Additional Outfit - +$12

Additional Poses - PRICE VARIABLE

Animations - PRICE VARIABLE

[watchilove]

AVIONICS VM handmade electric bike captures the thrill of flying high while riding on solid ground. Blending minimalistic features into a retro-style reminiscent of the 1930s, these two-wheelers boast an unparalleled spirit sure to turn heads as they speed by. Created exclusively for the M.A.D.Gallery, the AVIONICS VM is limited to 52 electric bikes.

This artful conception hails from Avionics, a business started by two Polish gentlemen, Bartek and Jaromir, who discovered their joint passion for adventure and the golden age of invention by a chance encounter. “From the very beginning, we knew that Avionics must stand out in terms of design and performance. The design of Avionics references vehicles and planes from yesteryear, while its interior technology showcases the twenty-first century,” explains Jaromir. “Absolute fusion of nature and engineering powered by electricity.”

The innovative engineering, refined details, and incredible grandeur are all elements embedded in AVIONICS VM, now exhibiting at the M.A.D.Gallery in Geneva. We can’t wait to get in the saddle as this is not your run-of-the-mill bicycle.

AVIONICS VM

AVIONICS VM disrupts the standard way to ride a bike with its unique and striking form built to be reliable and withstand time. A ride on the AVIONICS VM provides freedom of movement in harmony with nature, a surge of adrenaline, or the opportunity to defeat agonizing traffic jams on an environmentally friendly alternative free from noise and exhaust.

Created exclusively for the M.A.D.Gallery, the AVIONICS VM is limited to 52 electric bikes, numbered accordingly, each arriving with a certificate of authenticity. The sweeping lines of the sturdy frame are made with chromium-molybdenum steel, an incredibly strong and corrosion-resistant material, and chrome steel, a standout colour produced specifically for this M.A.D.Gallery collection. Integrated into the frame is an ergonomic seat using leaf spring suspension to provide a smooth ride and a notable design element.

“When you look at Avionics from the profile you will see the section of the airplane wing created from the leaf spring and part of the frame,” describes Bartek. “This is an unusual solution for suspension and a feature distinguishing Avionics from any other bike or motorcycle.”

Accents handcrafted from Jatoba wood enhance the AVIONOCS VM’s visual allure with rich, warm tones. The sleek wooden chest located at the bottom of the frame confidentially houses the battery, immobilizer, and electrical components, protecting them from weather and dust while simultaneously adding a touch of class with old-school leather straps. From the saddle and grips to the headlight and fork covers, these hardwood features are exquisite.

The AVIONICS VM has a massive 5,000-watt electric motor harnessing incredible torque (125 newton-maters or 92 feet-pound) with top speed reaching 36 miles per hour (58 kilometres/hour), which is a hefty amount of acceleration for everyday use. Featuring a 24-ampere hour lithium-ion battery pack, the bike can travel an estimated range of 74.5 miles (about 120 km) in low-power street mode and can be topped up in two to three hours from a domestic plug socket. Additionally, there is a USB port for charging the bike.

The AVONICS VM e-bike is programmed with various street modes limiting its power to more street-friendly speeds. The three different lower-speed modes for street riding restrict the power from 750 W to 500 or 250 W. Using the force mode of the AVIONICS VM, you can ride like the wind – which is certainly why the ‘M’ in ‘VM’ stands for makani, meaning wind in the Hawaiian language.

Controlling that kind of speed means being outfitted with the right tires and brakes to match the AVIONICS VM’s particularly impressive power. Decked out with hardy disc brakes measuring 203 millimetres (8 inches) on both the front and back wheels makes stopping as effective as possible. Another bonus to the brake system is that the power created from slowing down is recouped and helps charge the battery pack, extending the ride time until you have to plug in. Oh, and for when the battery runs dry or for the very sporty, AVIONICS VM is armed with traditional cycling components like pedals to get back home the old-fashioned way. The chrome-plated headlamp will help guide a night ride with its 1,000 lumens of light while the bike’s taillight offers an output of up to 15 lumens via a bank of 18 COB LEDs.

The AVIONICS VM is set for any circumstances with 26 by 3 inch special tires with retro ZigZag tread and able to take on a variety of terrain. The e-bike is also waterproof so you can take it out while it is raining without any worries: simply deactivate the immobilizer and a rear-wheel electric blockade anti-theft system with your key and off you go.

Every component, down to the last detail, was considered and finessed by expert craftsmen (apart from the electric motor and Lithium-Ion battery packs), putting this electric bike in a class by itself.

Creation Process

Utilizing two workshops in Poland, Avionics creates incredible handmade electric bikes with the best craftspeople in the fields of electronics, woodworking, computer numerical control (CNC) milling, and pipe bending. The workshop in Poznań handles the production of wooden parts, Avionics details, electronic elements, and corresponds with customers. Located in Krakow, the other studio assembles, tests, and services the bikes in addition to developing the films and photos for marketing purposes.

The creation process begins by sketching an idea on a piece of paper. The team reviews and revises the concept until the initial design looks promising. From paper to digital, the idea is then brought to life through computer-aided drafting (CAD). Viewing the element on screen in 3D allows for further adjustments. Once the details are finalized in the CAD program, a prototype is output by a 3D printer and another iterative process begins until the element fulfills expectations.

During production, the components are individually cut to exact specifications on CNC machines and then moved to the manual processes. Each wooden and metal element requires manual work, including sanding, polishing, fitting, and oiling – a laborious and time-consuming step in the process. All wooden components require repeated sanding, polishing, and oiling with natural linseed oil to enhance the natural beauty and provide a protective coating against the weather. Once complete, the electronic components are embedded in the wooden elements and the finished parts are mounted on the bike.

“Avionics is a synthesis of philosophy, art, and the creative demon that constantly makes us fly higher, farther, faster,” states Jaromir.

It takes approximately six months to design and produce an Avionics electric bike with the longest and most demanding stage in the process being the electronics and the shortest assembling the bike, which takes a week.

Avionics is the brainchild of Jaromir and Bartek, but they have enlisted the support of three more friends at the moment. Inside Avionics, all decisions from the shape of individual bike elements to business and marketing decisions are considered by the team. As Jaromir and Bartek say, “Together we overcome all difficulties. Let’s fly together!”

About the Avionics founders

A fortuitous meeting during the summer of 2015 on a Baltic beach led to Jaromir and Bartek discovering their common enthusiasm for wild adventures, transportation, and view to nature for inspiration. These coincidental similarities are the genesis of Avionics.

“We are like two sprockets perfectly matched in a machine,” claims Bartek. The dynamic and slightly chaotic character of Jaromir is expressed in the temperament and uncompromising presence of Avionics. On the flip side, Bartek brings a calmness and balance to the team. This is reflected in the smooth, beautiful shapes of these extraordinary bikes and the impeccable attention to the details and finish.

Born in 1976, Jaromir graduated from the philosophy department of Marie-Curie Skłodowska University in Lublin and the director’s department of the Łódź Film School. He went on to become a creator of music videos, animated films, documentaries, and film music as well as the recipient of many film awards. Jaromir’s love for motorization, aviation, and electricity in every form is also reflected in his fascination with synthesizers and electronic music, which he consistently illustrates with film impressions. As he says, “Philosophy does not give any answers but allows us to look at things from a perspective that is not obvious, ask the right question, and then try to find answers.” Jaromir’s mindset pushes Avionics further through philosophy, art, and creativity.

Bartek was born in 1971 and studied at the Poznań University of Technology and graduated from the Academy of Visual Arts in Poznań with a diploma in interior design and computer graphics. For part of his career, he worked as a freelancer designing advertisements and multimedia presentations for leading companies in Poland and worldwide.

In his work, Bartek believes that simplicity, minimalism, and an uncompromising attitude are the most important.

Future plans for the company have the partners flying high with creativity, including dreaming of an Avionics plane!

The M.A.D.Gallery Presents Handmade Electric Bikes by Avionics: Disrupting the Standard Way to Ride AVIONICS VM handmade electric bike captures the thrill of flying high while riding on solid ground. Blending minimalistic features into a retro-style reminiscent of the 1930s, these two-wheelers boast an unparalleled spirit sure to turn heads as they speed by.

[sustainhealthmagazine]

Are these the best gyms around the world for design buffs in 2018

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By Wallpaper

Ever wondered where the design-minded go to relax, work-out and punch things? It turns out they’ve got quite the option list – stylish concept gyms are getting pulses racing everywhere.

But which are truly inspirational? London to Los Angeles, here’s all you need to know about the world’s best gyms, from shadowboxing in New York City, to stretching out in Singapore...

Equinox Fitness has been around since the early Nineties, but the performative health culture of social media has certainly given the luxury company (which also owns Soul Cycle and Pure Yoga) a boost. Equinox Kensington is the first branch of the gym to open outside of the United States, and – as in other cities – it occupies prime real estate. It’s organised around the art deco dome of the historic Derry & Toms building, a seven-storey department store fixture of 1930s Kensington. The building gained even more notoriety in the Seventies when it was taken over by Biba, which drove many of the decade’s most beloved fashion palettes and silhouettes. Today, wrought-iron deco windows illuminate yoga studios and all the best of the space has been preserved. 5th floor, The Roof Gardens, Kensington High Street, London W8 5SA

Launched as a sister club to luxury British fitness brand Third Space, Another_Space is a stylish, light-filled work-out zone in the heart of Covent Garden. London-based Goldstein Ween Architects were enlisted to create the breezy, loft-like interiors, conjuring a pared-back palette of warm wood flooring, sweeping skylights, marble basins and plenty of soothing greenery. Helmed by Colin Waggett, founder of Psycle and CEO of Third Space, Another_Space brings together the golden trinity of fitness in the form of yoga, cycle and boxing-based HIIT studios, sure to attract the most serious of gym-goers looking to work on cardio, flexibility, strength and conditioning training. 4-10 Tower St, Covent Garden, London WC2H 9NP

1Rebel’s first boutique gym at London’s St Mary’s Axe was designed by Studio C102 to woo fitness lovers frustrated with the current gym model. Pay as you go? Check. Music you actually want to workout to? Check. And did we mention the chilled towels? Industrial architecture at every turn exudes the philosophy that it’s about pushing limits, not looking pretty. Copper piping snakes up the changing room walls and the gym’s personalised playlists pump throughout. 63 St Mary Axe, London EC3A 8LE

One Hot Yoga in Melbourne is the creation of husband-and-wife team, architect Robert Mills and yogi Lucinda Mills. It’s no wonder the space is extremely design-driven in addition to emphasising environmental wellness. The studio is especially proud of the architectural features that lower its carbon footprint. A custom water-heating system uses ‘one third of the energy [compared to] commonly-used electric heat systems and is one third as costly to run.’ Shower and cleaning products at the studio are all organic. 36 River Street, South Yarra VIC 3141, Australia

Former fashion stylist Karen Lord has created an eponymous pilates studio in NYC’s Tribeca. The space reflects the serenity that seduced Lord out of her previous hectic lifestyle. Unsurprisingly, the minimally branded program has drawn loyal fans from among the fashion set. The studio store stocks wellness goodies, like BKR water bottles and Sandoval aromatherapy spray. 137 Duane St, New York, NY 10013, USA

While living in a penthouse may be just an aspiration, working out in a penthouse doesn’t have to be at Pure Yoga Shanghai, which is set atop the IAPM mall. After enjoying city views, yogis can breeze through the likes of Miu Miu and Muji on their way out. Pure Yoga began in Hong Kong and has since spread across Asia and been exported as far as New York. Its Shanghai outpost uses clean lines and soft lighting to create a calming space that echoes the brand’s commitment to body and mind. 999 Huaihai Middle Rd, Xuhui Qu, Shanghai Shi, China

BLOK Shoreditch is designed by Daytrip Studio (Iwan Halstead and Emily Potter) and lighting design studio There’s Light. The latter have made the whole space feel like one, long corridor animated by light, colour and reflections, which mingle with the smell of coffee and Malin & Goetz bespoke products, alongside photography by Oppenheim and installations by Ben Cullen Williams. The designers have used a combination of materials (concrete, glass, steel, wood and fabric) to create contrasts between hard and soft surfaces, light and shadow; illustrating the divide between the hectic London urban environment and the relaxing energy of the practice rooms. The Tram Depot 38-40 Upper Clapton Rd, London E5 8BQ

Virgin Active gyms cite being a ‘force for good’ as one of their main principles. Despite the luxury quality of their offerings, they also began the affordable Virgin Active RED gym model in South Africa, where they hope to attract and benefit the growing middle class. At Virgin Active’s Singapore location, the Relax & Recovery Zone is a huge draw. Despite the delights of foot soaking and steam, the real highlight might be the glowing, pink wonder of the Himalayan Salt Inhalation room. Raffles Place, #06-61, Tower 2, 1 Raffles Place, Singapore 048616

Soho House Chicago is housed in a historic early 20th-century belting factory, and its 17,000 sq ft gym is no exception to the club’s preserved industrial loft aesthetic. Appropriately, the last tannery in the city designed the leather boxing equipment. When the season’s right, don’t forget to check out the beloved hotel rooftop and bar and treat yourself to a post-cardio cocktail. 113 N Green St, Chicago, IL 60607, USA

Local firm Lab100 are behind Kuwait’s most stylish boxing gym. The Burrow puts their boxing ring theatrically at the centre of the action. Skylights ensure that the space becomes even more dramatic at night. It was the first studio of its kind in the region. Photography: Nelson Garrido. Jaber Al Malik Al Sabah St, Kuwait

Boutique boxing gym Shadowbox is a sleek alternative to the gritty stereotype of the sport. The luxury facility, started in NYC’s Flatiron, has been so popular it’s opening a Brooklyn branch next. ‘We found that clients will form lines out the door if you distil the very best of boxing into a 45-minute workout incorporating rounds of heavy bag work, thumping curated music and a welcoming ambience,’ says founder Daniel Glazer, who trained with professional fighters. In addition to the club-like grid of boxing bags is a vintage-style boxing ring in rope, wood and canvas. All of which were designed in-house. 28 W 20th Street, New York, NY 10011, USA

Designed by Rabih Geha Architects, U Energy gym in Lebanon encourages connection and interaction – the 1200 sq m space is completely open, divided only by structural concrete pillars. Underground, atmospheric, high energy; the gym features skylights to allow beams of light from above, while neon lighting taps into the ‘gym-cum-club’ trend gripping fitness fanatics everywhere. The lighting does more than make the space look ‘trendy’, however. The architects argue that ‘light travels through neurological pathways and affects the pineal gland in the brain’. Green has a healing effect and boosts satisfaction, which (apparently) can make your workouts more enjoyable. Red can invigorate you, adding zest to keep-fit sessions. While the colour blue can actually increase productivity; research shows weightlifters can lift more in blue rooms. Hazmieh, Lebanon

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[industryskillshollymountcastle]

Sketchbook

This whole assignment is based around creating something of your own, a Personal Portfolio Project. This allows me to experiment and creating an outcome of so many sorts that I didn’t want to throw myself into it straight away without narrowing it down what I would like to do. 

So, picking a list of three and developing on two this helped me thoroughly think about what I want to do. I narrowed the list down to concept art, character design and illustration. As illustration is so large and you can fit almost every category under it I decided to delve further into concept art and character design. 

Environmental (Concept Art)

“Concept  art is a form of illustration used to convey an idea for use in films, video games, animation, comic books or other media before it is put into the final product.” - Wikipedia

Concept art is what I believe to follow the most amount of artists that follow that career (or hobby) choice. For example, Sandara, Claire Hummel, Sergi Brosa and an artist that I found through deviantART, Myth-Keeper.  Whilst concept art covers many forms such as environmental and character concepts, I focused on environmental with some side characters, taking most inspiration from Myth Keeper. For their concept art Myth Keeper (real name unknown) they can use quite blocky and sketchy styles, totally different to their final and fully rendered style. Here is an example of one of their concept paintings which I watched them work on during a Picarto stream: Evanesce. Their brush strokes are smooth and free and the characters included in the painting don’t hold too much attention and are mostly vague shapes.  Whilst not quite the same I wanted to look into something similar of my own but traditionally on paper. I used some of my own photos that I have taken on walks along with inspiration from Myth Keeper themselves and creating two sketches.

To add some colour and to show practice with other materials I also decided to colour using watercolours. I kept quite free with both the pencil lines and watercolour as it’s a vague concept with nothing fully rendered or decided. 

Character Design (Concept Art)

“A character designer is an artist that creates new, original characters for a purpose.” - Tom Bancroft. 

Character design isn’t all that different from the previous topic with how characters start off as a concept before slowly becoming developed and rendered with time and different concepts, as goes with most things in art.  Quite a few of the artists which I have previously linked such as Claire Hummel and Sergi Brosa do character design, my favourite being Sergi Brosa. They have to be one of my favourite concept artists due to their anatomy and colours. Their designs are bright and detailed and share the step-by-step process of development. They delve more into their character designs and add extra sheets on the characters, whether it be different expressions, weapons or vehicles. Here is a good example of their process and character design for a character in a story: Atomic Delivery - The Hero, Zia. The artist has included a number of different colour examples to help them come to a final conclusion of what they think fits best. Over on their Behance they include the process for some of their characters such as Igor. They show their initial sketch done digitally and working up with a lineart, colour and shading. For this specific character even though he is wearing what I can only assume is a form of armour, they have still sketched out the basic body that would be underneath before building it up. For their artwork they use Manga Studio and Photoshop. 

Whilst I did not delve into character creation and only skimmed the surface at the beginning I still find it relevant. 

A character’s personality can be easily captured with their reactions and facial expressions to different events. The eyebrows and mouth often play the biggest part in reading a character, in both real life and not, along with any facial lines. Characters can be anything. They can be a human, animal, an alien, something with two legs but not human or quite frankly anything. A character can be whatever you see or want to see put down on paper with no limitations.  To capture expressions the character must have distinct features, like how I captured “tired” with droopy eyes and mouth, trying to convey just how tired a character might be. 

Illustration

“An illustration is a decoration, interpretation or visual explanation of a text, concept or process.” - Wikipedia

Illustration can be hard to describe. I think almost every form of art (such as concept art and character design) are all Illustration, making it almost limitless but sometimes I think illustration can sometimes hold a deep meaning, as does most forms of art. 

Moodboard - what am I interested in? 

To help my process and what to do exactly I created a moodboard. However, I didn’t include interests such as foods, games or films I may enjoy. Instead I included inspirations. A lot of my inspiration, especially for full illustrations come from the outdoors and what I see during my trips out and long walks. I often take photos of where I go even if it only ends up looking like a field with some trees in it to other people, whereas for me I see much more which helps in drawings, such as the way the ground is laid or how the trees are placed or the colours of the foliage and sky. Included in some are dogs I own or have previously owned where a lot of my inspiration also comes from, especially if they are set in the scene correctly. My favourite pictures that I take have to be of trees. Whilst it may seem boring to some, the way trees can grow in odd shapes or how they’ve been purposefully placed can be quite interesting, such as creating a straight line on either sides and directing the viewers eye to a certain point or the way they may have fallen during a storm and lay in such a way that light or water is seen through and creates a pretty image. 

It was at this point that I decided that I wanted to create an Illustration of something that has meaning to me but I was still uncertain on what exactly. 

Colour Practice

Colour is a difficult thing to use but can be effective in many ways, whether it be because the colours are very bright or very dark. The colour palette can solely tell a whole story and mood, whether it’s good or bad, sad or happy. Colour is important but getting it right can be difficult. 

Finding two images from my moodboard I used them to take inspiration and sketch out a scene. I wanted to use these two scenes to create a light and a dark background. I decided to use markers which although I haven’t used that often, it gave a block-y style which I wanted for these quick concepts as I didn’t want to delve into too much detail. 

I think it worked effectively and whilst the darker background could’ve used more work, it still helped me come up with an idea and how I would like to present.  I soon decided that not only did I want to include an environment in my illustration but also a character to create a full illustration, perhaps fully painted digitally, but to do so would require more planning and work to finalise my idea. 

[shannonwantstohugyoutwo]

Unit 12 - Task 1

Unit 12 - ‘be it!’

In the games design industry, I would like to work in design, with some story writing and audio work on the side. Design appeals most to me as it is the area I am the most confident in and enjoy most, however I also enjoy the audio and story side of games design and would also like to partake in that side of games design.

Animator

Designers in games design focus on the animation, character design, environment design and the overall effect the game has on the player. An animator in the games industry are responsible for the portrayal of behaviour and movement. Usually, this is applied to make give life to game characters and creatures, but sometimes animations are also applied to other elements such as objects, scenery, vegetation and environmental effects.

Animators must portray movement and behavior in an efficient and effective way which makes best use of the game engine’s technology, within the platform’s limitations. It is often necessary to restrict the number of key frames used or the number of characters that can appear on the screen at a time. Animators work closely with programmers and artists to create the best balance between smooth seamless movement and optimized performance on the target platform.

Game production is collaborative, and animators work as part of the art department team. Using the objects, models and most importantly characters created by 3d artists, animators define their movements and behaviors and apply them using the animation tools and techniques provided by the selected 3d animation software package.

They are also usually responsible for the technical processes of rigging and skinning of the characters, which involves creating an underlying structure rather like the bones of a skeleton and attaching appropriate body parts to each bone. This makes the animation process itself a lot more efficient.

 Requirements of an animator;

·         Have knowledge of traditional and computer 2d and 3d animation techniques.

·         Be creative and imaginative.

·         Have knowledge of full motion video (fmv).

·         Be able to work as part a team and on your own initiative.

·         Be able to take responsibility for organizing your work within the production schedule, managing files and meeting deadlines.

·         Understand the production process.

·         Be able to communicate effectively with other teams and disciplines is essential.

·         Have some knowledge of programming, ideally.

·         Be able to reveal attitude, emotions and mood through a character’s movement and behavior.

·         Understand the timing and appearance of human and animal movement and facial expressions and be able to lip sync.

·         Be able to create memorable characters that will appeal to players.

·         Have spatial awareness and a feel for movement over time.

·         Have knowledge of the requirements of the relevant health and safety legislation and procedures.

This has always been the specs of an animator; however, the original guidelines are more basic, mainly only needing experience in the area and good team work.

If I was to become an animator, I would need to improve my model manipulation skills and develop my general art, getting quicker at producing work. I would start an ideas book, to write all my ideas into and then work and develop these into work, even if there are only a few good and usable ideas. Any inspiration is helpful, and I feel as though if I ever lack in ideas, this would help greatly.

 Game artist

Artists create the visual elements of a game, such as characters, scenery, objects, vehicles, surface textures, clothing, props and even user interface components. They also create concept art and storyboards which help communicate visual elements during the pre-production phase. Some games try to look as realistic as possible while others aim for a more stylized look. It is the artist's job to model and texture characters and objects to achieve the desired result. The look of a game is often a significant factor in its success, second to its playability. There are various specialisms within the art department, including 3d object modelling, character design, textures, and environments. Each artist has responsibility for the creation of art assets with a game, but there is also a lot of movement between roles. They might also create artwork for packages, promotional materials and websites. Artists work under the supervision of the lead artist. They create art assets according to the game specification and they are usually responsible for managing those assets. Some artists specialize in the design of human figures and characters, others in buildings and landscapes, and some in textures for 3d objects. Artists do a range of jobs which have different responsibilities and techniques, including:

Concept artist - usually using traditional materials (e.g. Pen and paper) rather than computer software, the concept artist sketches ideas for the game worlds, characters, objects, vehicles, furniture, clothing, etc. They also suggest level designs, colour schemes, and the mood and feel of the game. Although not involved in creating the actual game art, their concept will shape the look of the game

3d modeler - builds the characters, objects and environments of the game, including life forms, scenery, vegetation, furniture, and vehicles, etc. They need to balance visual richness and detail with the limitations of the game's technology

2d/texture artist - creates and applies textures to characters, environments and game items, such as the surfaces of walls and floors of buildings. This is also a highly skilled area, which requires considerable knowledge of lighting, perspective, materials and visual effects

Requirements of a game artist;

·         Be able to draw from life.

·         Have knowledge of anatomy and architecture.

·         Be able to convey facial expressions and emotions.

·         Have a flair for colour, composition, perspective, modelling and texturing techniques, lighting and mood.

·         Have skills in comic book art and/or storyboarding.

·         Be able to work as part of a team and independently.

·         Be imaginative and creative.

·         Pay close attention to detail and have strong powers of observation.

·         Have good communication skills.

·         Be able to work to a style guide.

·         Have knowledge of the requirements of the relevant health and safety legislation and procedures.

·         Have an art portfolio demonstrating a range of work and originality of style.

The requirements of a game artist have increased by a lot over the years, as the technology available is more advanced and the in-game graphics expectation is much greater than it was 10 years ago. Nowadays, games are expected to be crisp and clear, with next to no error.

If I was to become a game artist, I would need to really improve my art skills and become more acquainted with different software and produce pieces at a quicker pace. When I’m away from home and college, I will start to carry a small sketch book around, so if I get any sudden ideas, I can make a note for future references.

 Lead artist

The lead artist is responsible for the overall look of the game. Working with the game designer and lead programmer, the lead artist devises the game’s visual style and directs the production of all visual material throughout the game’s development. They produce much of the initial artwork themselves, setting creative and technical standards and determining the best tools and techniques to use. In conjunction with the producer, the lead artist puts together and manages the team of artists and animators who produce most of the art assets for the game (including environments, characters, objects and effects) under the lead artist’s direction. The lead artist must ensure that the art and animation team works to schedule and within budget. They also work closely with the programming team to make sure that all art and animation assets produced can be easily imported into the game engine. The styling is often communicated through concept art. The lead artist will supervise, if not actually undertake, the production of material which illustrates the visual atmosphere and graphical design for the game. They also research and test out different modelling, texturing, animation, rendering and lighting techniques and tools appropriate to the games technology, with input from the lead programmer. They supervise the team’s output from a creative and technical point of view, and also ensure that the work gets done according to budget and schedule, alongside the game’s producer, anticipating problems and planning for any contingencies. They are also usually responsible for overseeing any outsourced art production.

 Requirements of a lead artist;

·         Be able to inspire and motivate a large team of creative talent.

·         Have a distinctive and original style.

·         Understand all the roles within the art department and of any outsourced contractors.

·         Be able to build good working relationships with other departments.

·         Be able to communicate clearly with senior managers, designers, programmers, testers and other personnel in their own language.

·         Have excellent communication skills, including tact and diplomacy.

·         Understand of the technology used in game design and development, its capabilities and limitations.

·         Have traditional and computer art and design skills.

·         Be able to manage people, time and resources.

·         Have knowledge of 2d and 3d modelling and animation packages.

·         Have conflict resolution and problem-solving skills.

·         Have a passion for games and a good understanding of what makes a game visually appealing and fun to play.

·         Have knowledge of the requirements of the relevant health and safety legislation and procedures.

The requirements of a lead artist have stayed within the same guidelines when it concerns managing the team, however the expectation for a good game with attention grabbing plot and great graphics is always increasing, as different game studios produce more and more lifelike games, setting the bar higher each time.

If I was to become a lead artist, I would need to brush up on my people skills and become better at managing groups of people. I would also need to be constantly getting up to date with the target markets expectations, be this through questionnaires, surveys or other ways. This way, I would be able to manage a group into creating a game that holds people’s attention and doesn’t feel outdated.

 Level editor

The level editor defines and creates interactive architecture for a segment of a game, including the landscape, buildings and objects. They must be true to the overall design specification, using the characters and story elements defined by the game designer, but they often have considerable freedom to vary the specific look and feel of the level for which they are responsible. They define the environment, general layout of the spaces within the level, and lighting, textures, and forms. The define the characters and objects involved, whether they are player-controlled or non-player characters, and any specific behaviours associated with the characters and objects. They also develop the gameplay for the level, which includes the challenges that the characters face and the actions they must take to overcome them. The architecture helps to define those challenges by presenting obstacles, places to hide, tests of skill, and other elements to explore and interact with. The setting and atmosphere devised by the level editor can also give the player clues about different ways of progressing though the level and the game. The level editor first sketches ideas on paper or using 2d drawing software. They must imagine the playing experience, putting themselves in the position of the player, mapping out all the possibilities. The ideas are then worked out in 3d and tested in the game engine, which produces further ideas. In consultation with the programmers and artists, the level editor draws up a detailed inventory of level ‘assets’ (all the objects and programming requirements needed to make the level run in the game in its final form). Every asset can impact on the game’s performance and the level editor must understand the technical constraints to which the team is working, e.g. There may be a limit on the number and complexity of objects that can be displayed on screen at any one time.

Requirements of a level editor;

·         Have good spatial and layout design skills.

·         Have knowledge of 3d modelling and a firm grasp of game design principles.

·         Can visualise layouts.

·         Have a practical understanding of programming and scripting language to work closely with artists and programmers.

·         Have it skills and competence in the use of world-editing tools.

·         Have knowledge of different platforms.

·         Be very well organised.

·         Be able to work both independently and as part of a team.

·         Be able to accept and give direction.

·         Be imaginative and creative.

·         Have excellent communication skills (both verbal and written).

·         Pay close attention to detail and be able to evaluate quality.

·         Have a passion for games and knowledge of game design theory.

·         Have knowledge of the requirements of the relevant health and safety legislation and procedures.

The requirements of a level editor have increased over the years, as the game levels in most modern games are open world and require a lot of detail in small areas. Modern levels aren’t expected to have only plot but also collectibles, side quests and other essential game factors. Levels need to be easy to navigate, however if it is made too easy the level seems boring, or if it is too complex it makes the audience lose interest or become frustrated.

If I was to become a level editor, I would need to really improve my level layouts as well as the rate of which I produce different levels. I should keep a sketch book of possible level designs, as this could help with future projects.

 Technical artist

The technical artist acts as a bridge between the artists and programmers working on a game. They ensure art assets can be easily integrated into a game without sacrificing either the overall artistic vision or exceeding the technical limits of the chosen platform. The role is a relatively new one for the games industry but is becoming increasingly important as consoles and pc hardware becomes more complex. Despite their technical knowledge, the technical artist works part of the art team, working closely with the lead artist and the creative director, as well as the lead programmers. Their main areas of responsibility include setting up and maintaining the art production workflow, and making decisions about which art packages and tools a studio should use. They are also charged with investigating new techniques and implementing them. The job often includes a teaching element, with the technical artist sharing their knowledge via training and mentoring sessions with other artists. The technical artist is not typically directly involved in the creation of game art assets. Instead they act in more of an advisory position, setting up the systems of production as well as dealing with problems as they arise. One large part of the job involves keeping up to date with changes in technology, both hardware and software, as well as new techniques. They are expected to be able to create custom tools to improve the efficiency of their team. This is usually carried out using the scripting languages included in the main modelling and animation packages. They oversee work in response to feedback or debugging complex assets such as character skeleton rigs and skinning systems. They also research and oversee the implementation of rendering techniques such as normal and specular maps, particle systems and pixel shaders.

Requirements of a technical artist;

·         Be able to show technical proficiency in areas such as lighting and rendering, texturing, and graphics-related programming languages such as shaders.

·         Have extensive knowledge of art packages ranging from modelling to texturing and special effects.

·         Be able to customise art packages so that they are as streamlined as possible for specific projects.

·         Be able to work well as part of a team.

·         Have good communication and people management skills, to train and mentor others.

·         Be able to work with minimum supervision.

·         Have excellent organisational skills.

·         Be able to think creatively to resolve technical challenges and limitations.

·         Have knowledge of console hardware architecture.

·         Be highly skilled in the use of 3d graphics software.

·         Be able to anticipate the needs of the artists to streamline their productivity.

·         Have knowledge of the requirements of the relevant health and safety legislation and procedures.

The requirements of a technical artist constantly change over time, as the technology available is more advanced. The specs of games has also changed over the years,

If I was to become a game artist, I would need to really improve my art skills and become more acquainted with different software and produce pieces at a quicker pace. When I’m away from home and college, I will start to carry a small sketch book around, so if I get any sudden ideas, I can make a note for future references.

  Sources:

Creative skillset 2018. Job roles in the games industry.

Available at: http://creativeskillset.org/creative_industries/games/job_roles

 All star directories 2017. Different careers in games design. Available at: https://www.all-computer-schools.com/computer-careers/video-game-design/game-design/

I used these sources because they were the most informative out of all the websites I looked at.

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Interaction & Play - Reflective Statement

Alley-light interactive was a successful plaything. We successfully spotted an area that needed illuminating to minimise the intimidation and risk brought up around that area. The initial concept stayed the same throughout the process with slight iterations of our design process along the way. Judging from the response from the user testing and feedback in and out of class, it was evident that the installation was easy and relatively simple for the users to interact with.

We related the frameworks of the design to the Waihorotio stream that used to run beneath Aotea Square. My Role in this project was to design and animate objects and a background that clearly illustrated a water stream. This design asset was vital as it had to be prominent and clear that the background was a stream, I researched existing cartoon styles, however, none appealed to the style I wanted. When analysing colour theory, I found that colour saturation was commonly applied within cartoons to immediately tell the viewer it’s fake and in some cases alter the mood (Blender Guru, 2014).

Feedback

As a group, we ran into critical feedback about the design style in which we should’ve properly planned out in the beginning stages of our project planning. I personally thought the design assets and objects were quite plain and could’ve been re-designed in a more creative way. However, we had our designers draw up the objects and vectorise the assets in illustrator which in itself was a timely process. We were told that the objects flowing across the stream, could be changed to something more impactful perhaps highlighting a more traditional approach, such as Maori designs (i.e Canoe, Taniwha). Another concept could’ve been the marine pollution and overfishing issues that are working cumulatively and are occurring much more rapidly. Exposing an environmental issue whilst users are interacting with polluted objects in the scene. Being an informative and creative environment for all ages.

My Role

My role in the team included designing and animating the background scene for the projection. I looked to tutorials to get a fair understanding of the effects I could use for the animations. I had basic knowledge of the after effects software. The first piece I did was create a grid on illustrator and export the layers into after effects to use a draft. I used this grid to test the speed and warp effects. I found that this method of breaking down the animation into a grid proved to be useful when testing the default effects set in AE. This step helped me gauge out what could be done to vectorised art from illustrator to after effects. I designed and animated three main backgrounds to work with. backgrounds consisted of a realistic water texture, sandbank water clashes and a cartoon styled animation. I wasn’t set on the final cartoon styled animation I ended up producing, however it fits best into scene out of the three. We initially wanted to add objects to the water animation. However, I thought this would look quite busy and unsettling to the user. I personally didn’t want to overload the scene with sprites as our projection dimensions were limited on the wall, I certainly felt I could’ve made a rough prototype of the combined objects streaming, and acquired feedback. However, I based my actions on assumptions, which isn’t how you’d operate when “addressing all of the unanswerable questions” (Salen, K., & Zimmerman, E., 2010),

I had a few issues with the looping of the final animation creating a seamless for background for the unity scene. This resulted in a glitchy animation transition from one clip to another. Josh was also assigned the role of animation and helped me resolve this issue. I feel like being in a group of seven made this project seemingly more dynamic in terms of the tasks that needed to be completed. I feel we have all made headway to concise prototype for Alley-light.  Overall, There is definitely room for development with factors such as scale and design style that could be further expanded on and improved. I’ve definitely come away with further developed skills in animation and design, which are the design I'd like to specialise in after university. I'm genuinely happy with our final project this semester as it clearly exposes a problem we scouted out and have all somewhat experienced.  

References:

1.Understanding Color - Retrieved September 15, 2017, from https://www.youtube.com/watch?v=Qj1FK8n7WgY

2. Salen, K., & Zimmerman, E. (2010). Retrieved October 15, 2017,  Rules of play: game design fundamentals. Cambridge, Mass.: The MIT Press.