Game Art - Art Direction - Principles of Character Design
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Art Direction 1 Principles of Character Design Game Art Design – Critical Studies 1 GAME 1002 Week 2 Art Direction 1 Emma Ash, Michael Powell August 2014
1 GAME 1002 Week 2 Art Direction 1 Emma Ash, Michael Powell August 2014
Principles of Character Design what makes a character visually interesting what is their story how do we convey this visually where do we begin
Game Art Design – Critical Studies
2 GAME 1002 Week 2 Art Direction 1
Roller Bunny by Gregory Callahans
Emma Ash, Michael Powell August 2014
Presenter
Presentation Notes
Where do we begin? What makes a character visually interesting? What is their story? How do we convey this visually? Where do we begin? This character didn’t just appear out of the ether, how was she conceived as a concept? Roller Bunny – Quick discussion on this image The artist has captured the fluid motion of a roller dancer, skating along the beach. The body and limbs have been contorted into an exaggerated pose, yet it is still believable that she might bend in that way and adds to the feeling of motion and fluidity. The body proportions are based in reality, again exaggerated to add pleasing curves. This gives the character a muscular feel, she roller dances a lot, whilst retaining her slight frame. Movement of hair and wire. Her facial expression – totally absorbed
What is good character design? is it believable silhouette readability fit for purpose
Game Art Design – Critical Studies
3 GAME 1002 Week 2 Art Direction 1
‘Journey’ by Thegamecompany
Emma Ash, Michael Powell August 2014
Presenter
Presentation Notes
we can begin by applying some simple ‘rules’ to analyse how the character works Believable – Character needs to be based from reality Silhouette - Clear and recognisable Readability Value Gradient Value Patterning Colour & Saturation Colour schemes Fit for Purpose – Does it fit into environment?
Believable
Game Art Design – Critical Studies
4 GAME 1002 Week 2 Art Direction 1
‘Ideal Proportions’ from Figure Drawing For All It’s Worth, Andrew Loomis
Emma Ash, Michael Powell August 2014
Presenter
Presentation Notes
Where do we begin? There are set rules of proportion that form the building blocks of any humanoid character. These are your fundamentals, and are very important to make your character believable. You will be learning the fundamentals of human proportion in future Visual Design lessons. For essential reference, you should get the Andrew Loomis books – there is no better introduction to the technical skill of observational drawing, and this skill will help you develop believable characters
Believable - exaggeration
Game Art Design – Critical Studies
5 GAME 1002 Week 2 Art Direction 1
‘2D Tutorial ‘How to’ Exaggerating Body Proportions by Mike Crilley
A B C D
Emma Ash, Michael Powell August 2014
Presenter
Presentation Notes
Understanding proportions is very important in order to make your character look believable. We can take this further and push proportions, exaggerate to enhance an idea or look, to help tell their story. Look at these silhouettes: What do you notice about the proportions? A, B, C, D Correct proportions Large head, thin waist, slim limbs with low muscle, shortened arms. Raised thigh and knee heights make the legs appear longer. Overall gangly, wirey. Raised waistline, broad chest and shoulders, tiny feet, exaggerated muscle angles Large head, lowered shoulders, large feet, fattened non-muscular limbs Who are they what character do the represent, what is their story?
Believable - exaggeration
Game Art Design – Critical Studies
6 GAME 1002 Week 2 Art Direction 1
‘2D Tutorial ‘How to’ Exaggerating Body Proportions by Mike Crilley
A B C D
Emma Ash, Michael Powell August 2014
Presenter
Presentation Notes
Who/what character do the represent, what is their story? Lets discuss each of these characters Typical proportioned young male Jack Frost – Rise of the Guardians – Story: He is a loner, a classic rebel without a cause, sarcastic and mischievous teenager. He is has uncanny speed and agility running and moving quickly across rooftops and traffic. This is reflected in his slight and wirey frame. Compare him to Robins clothes.. Robin The Boy Wonder – Originally a circus acrobat. He has the classic Super Hero proportions, broad shoulders and chest, slim muscular legs, with very small feet Ash Ketchum – Pokemon – A boy following his goal of becoming a Pokémon Master. Follows his heart, he sometimes acts a bit rash and rushes into the next battle as fast as he can. He looks a little stern and very determined, the cheek details implies someone who will blush quickly which fits with his rash nature. His body type with a lack of curves and definition makes him asexual, the big feet also implies leg strength for kicks.
Comparison – Jack and Robin
Game Art Design – Critical Studies
7 GAME 1002 Week 2 Art Direction 1
‘2D Tutorial ‘How to’ Exaggerating Body Proportions by Mike Crilley
Emma Ash, Michael Powell August 2014
Presenter
Presentation Notes
A lot of similarities. Similar slightly ruffled hair, which adds to the feeling that they are very young Similar skinny legs and delicate feet, with tight clothing Robins broad wedged chest shape is indicated more subtly in Jack Even Jacks hoodie is reminiscent of the Robins clock draped across the shoulders They are both ‘hero’ types; but Jack is the unlikely hero who steps up to the role. This is reflected in the younger more childlike body type and ‘ragamuffin’ nature of his clothing
What is good character design? is it believable silhouette readability fit for purpose
Game Art Design – Critical Studies
8 GAME 1002 Week 2 Art Direction 1
‘DC Comics Batman by Neal Adams
Emma Ash, Michael Powell August 2014
Presenter
Presentation Notes
we can begin by applying some simple ‘rules’ to analyse how the character works Believable – Character needs to be based from reality Silhouette - Clear and recognisable Readability Value Gradient Value Patterning Colour & Saturation Colour schemes Fit for Purpose – Does it fit into environment?
Who am I?
Game Art Design – Critical Studies
9 GAME 1002 Week 2 Art Direction 1
‘by Andy Fairhurst
Emma Ash, Michael Powell August 2014
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Presentation Notes
Who are they? What makes them instantly recognisable? These are clearly children playing dress up as heros Heros are instantly recognisable. Pose Logo Outfit Eyes
Silhouette silhouette must be clearly readable designed with a signature pose pose should reinforce character traits weapons should complement character
Game Art Design – Critical Studies
10 GAME 1002 Week 2 Art Direction 1
‘Wolverine’ by Andy Fairhurst
Emma Ash, Michael Powell August 2014
Presenter
Presentation Notes
Silhouette must be clearly identifiable Characters are designed with a pose in mind Pose should reinforce characters traits such as demeanour, strength and speed/agility Weapons should complement character design
What is good character design? is it believable silhouette readability fit for purpose
Game Art Design – Critical Studies
11 GAME 1002 Week 2 Art Direction 1
‘Tangled’ by Disney
Emma Ash, Michael Powell August 2014
Presenter
Presentation Notes
we can begin by applying some simple ‘rules’ to analyse how the character works Believable – Character needs to be based from reality Silhouette - Clear and recognisable Readability Value Gradient Value Patterning Colour & Saturation Colour schemes Fit for Purpose – Does it fit into environment?
Readability – the value gradient value – the range of light and dark regardless of colour and saturation value gradient – value should shift from darker at feet to lighter at head creates focal points – draw the player’s eye to important areas creates illusion of depth, enhances 3D
Game Art Design – Critical Studies
12 GAME 1002 Week 2 Art Direction 1
‘Dota2 Character Art Guide’ by Valve
Emma Ash, Michael Powell August 2014
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Presentation Notes
Readability - Value Gradient Value The range of lightness and darkness, regardless of colour & saturation. Value is possibly more important than colour to the design and success of a character Value Gradient A character’s value should generally shift from darkest at feet/lower body, to lightest as upper body and head Why is this? Typically the world is lit from above, this is most familiar to us. Of course if you change this, such as lighting from below, it instantly gives us an ‘unatural’ spooky feel. Creates focal points, to draw player’s eye to most important areas of the character Creates illusion of depth, enhances feeling of 3D
Readability – value patterning human eye looks for patterns
create contrasting blocks of value to highlight forms
increase contrast between objects
separate unique pieces into value
test value patterns in-game, before adding colour
characters most important features draw the eye
Game Art Design – Critical Studies
13 GAME 1002 Week 2 Art Direction 1
‘Dota2 Character Art Guide’ by Valve
Emma Ash, Michael Powell August 2014
Presenter
Presentation Notes
Readability - Value Patterning Creating Visual Interest Human eye looks for patterns or boundaries between areas of contrast Create contrasting blocks of value to highlight forms in characters Increase contrast between objects in upper torso, and less contrast in lower areas Separating each unique piece on character into own value Before adding colour, test your value patterns in-game. Character’s most important features should draw the eye
Readability – colour and saturation primary + secondary and tertiary, complement or contrast avoid colours dominant in the world saturation/colour intensity draw the eye higher saturation to reinforce interest ALWAYS recheck values in greyscale
Game Art Design – Critical Studies
14 GAME 1002 Week 2 Art Direction 1
‘Dota2 Character Art Guide’ by Valve
Emma Ash, Michael Powell August 2014
Presenter
Presentation Notes
Readability – Colour and Saturation Select a primary colour which best suits the character. Then select second and third colours which complement or contrast Avoid colours dominant in the world. (Unless it is a chameleon) ;) Saturation/Colour intensity draw the eye. Areas of higher saturation can re-enforce visual interest Don’t lose focus! Turn character to greyscale and recheck values
Readability – colour for mood and story
Game Art Design – Critical Studies
15 GAME 1002 Week 2 Art Direction 1 Emma Ash, Michael Powell August 2014
Presenter
Presentation Notes
Lets look at how using visual tools can show different mood Spiderman VS Batman Batman is dark, brooding, moody Spiderman is bright colours, large eyes – Light hearted, joke telling Hero colour palettes Colour can be used to tell a story Good vs Evil Pure / innocent vs muddied uncertain Happy / Angry
What is good character design? is it believable silhouette readability fit for purpose
Game Art Design – Critical Studies
16 GAME 1002 Week 2 Art Direction 1
’Farmer’ by Jolyon Webb, Game Art Team
Emma Ash, Michael Powell August 2014
Is it fit for purpose? check character in context test shapes test colours, values and scale ensure it does not distract
Game Art Design – Critical Studies
17 GAME 1002 Week 2 Art Direction 1 Emma Ash, Michael Powell August 2014
’Farmer’ by Jolyon Webb, Game Art Team
Presenter
Presentation Notes
Is it fit for purpose? One of the most important ways to verify your work, is to see it in context, and in different situations of lighting, such as night and day, inside, outside, sunshine or rain etc. Test shapes, value, colour and scale at each stage of the creation process Make sure it does not jar or distract (unless intentional), characters should look like they fit in their environment
What is good character design - checklist is it believable – based on reality silhouette – is clear, recognisable, unique and unmistakeable readability – value gradient, value pattern, colour and saturation, colour for mood and story fit for purpose – does it fit into the environment, your world
Game Art Design – Critical Studies
18 GAME 1002 Week 2 Art Direction 1 Emma Ash, Michael Powell August 2014
Presenter
Presentation Notes
Lets check the ‘rules’ against which we can measure how good is your character design Believable – Character needs to be based from reality, maybe exaggerated but it will correspond to our understanding of proportion, anatomy, biology and so on Silhouette - Clear and recognisable, will have a ‘signature’ pose, will certainly be unmistakeable and possibly unique. you don’t want to kill the good character when you meant to kill the bad character because they look too similar. Readability Value Gradient Value Patterning Colour & Saturation make the character clear, use all the visual tools here to help make your design pop off the screen and me easily understood and seen – no ambiguity allowed here! Fit for Purpose – Does it fit into environment? A super shiny chrome mech will look odd in a steam punk universe, and even odder in a rural mediaeval idyll…. unless you absolutely intend to create dissonance, it’s a big problem. And don’t use dissonance as an excuse for poor design analysis and iteration. Its really tricky to pull off. Now lets go back to character design at a simple level…
Who am I? Superhero recognition time…
Game Art Design – Critical Studies
19 GAME 1002 Week 2 Art Direction 1
‘Hello Kitty super hero designs by Joseph Senior
Emma Ash, Michael Powell August 2014
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Presentation Notes
Lets take a look at hero characters: Starting from the top left, shout out who do we have? These characters are all recognisable both as Hello Kitty, and as costumed heroes What is it about Superhero designs that make them instantly readable in many forms? Simple colour palettes, often sticking to only 2 or 3 main colours. Red & Blue = Superman, Spiderman, Captain America, Wonder Woman (+ gold) Simple design costumes Tight fitting costume Boots Logo Mask Weapons / Accessories Capes A good design can translate into other styles and forms, and still be recognisable and cool.
The many faces of Batman a strong design will become iconic
Game Art Design – Critical Studies
20 GAME 1002 Week 2 Art Direction 1 Emma Ash, Michael Powell August 2014
Presenter
Presentation Notes
A good design can translate into other styles and forms, and still be instantly recognisable. These are all Batman They all serve the same purpose; but in different ways and styles
How do we create a character? rules and story gathering reference – visual research refining reference using mood boards – visual research thumbnail sketches – generating and testing ideas refined sketches exploring palette final concepts ready for production!
Game Art Design – Critical Studies
21 GAME 1002 Week 2 Art Direction 1
‘Tangled’ by Disney
Emma Ash, Michael Powell August 2014
The game world helps define the rules Positive Hand-made Chunky Organic Rural Low-tech Medieval
Game Art Design – Critical Studies
22 GAME 1002 Week 2 Art Direction 1
‘Tangled’ by Disney
Emma Ash, Michael Powell August 2014
The game world helps define the rules
Game Art Design – Critical Studies
23 GAME 1002 Week 2 Art Direction 1
‘Village’ by Mitch Small, Craig Mooney, Game Art Team
Emma Ash, Michael Powell August 2014
Rules characters are real world proportions silhouette must be bold and interesting with chunky shapes, not fiddly small details hands and feet may be slightly exaggerated all colours from a warm, natural palette
Game Art Design – Critical Studies
24 GAME 1002 Week 2 Art Direction 1 Emma Ash, Michael Powell August 2014
Story characters have a story to locate them in the game world male farmer late 30s overweight rustic jolly likes a drink, and it shows
Game Art Design – Critical Studies
25 GAME 1002 Week 2 Art Direction 1 Emma Ash, Michael Powell August 2014
Gathering references a collection of visual ideas and stimulus at this stage keep an open mind reject nothing
Game Art Design – Critical Studies
26 GAME 1002 Week 2 Art Direction 1 Emma Ash, Michael Powell August 2014
Presenter
Presentation Notes
Reference Gathering A collection of ideas At this stage you don’t want to reject an idea or direction, inspiration comes from all sorts of places and this is not always the first place you look or from a logical starting place
Refining references – mood boards start to focus your idea prioritise what’s really interesting impose order and deduce visual must haves
Game Art Design – Critical Studies
27 GAME 1002 Week 2 Art Direction 1 Emma Ash, Michael Powell August 2014
Presenter
Presentation Notes
Mood boards Refining research Which areas are interesting Order and priorities ideas
Sketching – generating and testing ideas work fast work rough don’t be precious more done now will save time later
Game Art Design – Critical Studies
28 GAME 1002 Week 2 Art Direction 1 Emma Ash, Michael Powell August 2014
’Farmer’ by Jolyon Webb, Game Art Team
Refined sketching
Game Art Design – Critical Studies
29 GAME 1002 Week 2 Art Direction 1 Emma Ash, Michael Powell August 2014
’Farmer’ by Jolyon Webb, Game Art Team
Presenter
Presentation Notes
Refined / Balance Sketch Take the preferred idea and refine the sketch, add details
Exploring palette warm and natural no artificial colours use saturated colour sparingly colours sit in harmony
Game Art Design – Critical Studies
30 GAME 1002 Week 2 Art Direction 1 Emma Ash, Michael Powell August 2014
’Farmer’ by Jolyon Webb, Game Art Team
Presenter
Presentation Notes
Palette Exploration reproduce the refined sketch 16 times in a 4 x4 grid – its important that the images are precisely aligned, and the same size – you need consistency to make accurate value judgements do not be messy at this stage – this is about precision and order! Let’s look at this exploration of colours. They all match the brief: A warm and natural palette No artificial colours like neon Very saturate colours are used sparingly Colours sit harmoniously What do these colours say to you? Top left – Millitary, soldier. The artist has quickly explored colours and combinations to find one that fits the character brief.
Final concept right proportions right colours right shape/silhouette tells story visually
Game Art Design – Critical Studies
31 GAME 1002 Week 2 Art Direction 1 Emma Ash, Michael Powell August 2014
’Farmer’ by Jolyon Webb, Game Art Team
Presenter
Presentation Notes
model sheet that can be used for 3d modelling concepts are NOT single random pretty pictures, but the end of a rational process of visual research, idea generation and iteration good concepts will help the modellers build the world as envisaged by the art director, and meet the audience expectation
How do we create a character - checklist rules and story gathering reference – visual research refining reference using mood boards – visual research thumbnail sketches – generating and testing ideas refined sketches exploring palette final concepts now you’ve got a basic understanding of guiding principles of good character design, it’s your turn!
Game Art Design – Critical Studies
32 GAME 1002 Week 2 Art Direction 1 Emma Ash, Michael Powell August 2014
Presenter
Presentation Notes
Let’s recap on character creation Now you should have a basic understanding of character design, it is your turn!
Where 2D and 3D collide Game Production: introducing you to 3DS Max learning modelling basics Visual Studies: fundamentals of drawing visual communication visual review, tools and techniques
Game Art Design – Critical Studies
33 GAME 1002 Week 2 Art Direction 1 Emma Ash, Michael Powell August 2014
Presenter
Presentation Notes
In your first few weeks at DMU you have been: Game Production - getting to grips with the basics of 3D modelling and the interface of using 3ds Max. Visual Design – looking at the fundamental of drawing and visual communication. These have been working independently of each other. Now you are going to be combining 2D and 3D to bring your models to life. There’s no hiding place! Developing for games is fundamentally about integrating 2d and 3d – and later about introducing 4d or interaction to the mix! embrace your fear, and let’s jump right in – it’s a blast! isn’t he cute? it’s Cubee Man, adorable little sausage he is
Character design – Cubee Man we’ll provide you with
Game Art Design – Critical Studies
34 GAME 1002 Week 2 Art Direction 1 Emma Ash, Michael Powell August 2014
Presenter
Presentation Notes
woops, looks like we broke the little feller…. not to worry, we’ll put him back together in 3DS Max We will provide you with a : Max file of a simple cubee character The Uvs laid out on a template texture page
Cubee Man – a blank canvas
Game Art Design – Critical Studies
35 GAME 1002 Week 2 Art Direction 1 Emma Ash, Michael Powell August 2014
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Presentation Notes
You will be provided with a texture template. The first time you encounter a UVW mapping in 3DS Max, it will look a little bit like this. Layout will usually be more compacted to be more efficient.
Cubee Man – colouring in
Game Art Design – Critical Studies
36 GAME 1002 Week 2 Art Direction 1 Emma Ash, Michael Powell August 2014
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Presentation Notes
Texturing - Creating 2D textures in Photoshop and applying these to your 3D models
Your Cubee character
Game Art Design – Critical Studies
37 GAME 1002 Week 2 Art Direction 1 Emma Ash, Michael Powell August 2014
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Presentation Notes
Hello Wonder Kitty! Totally awesome! Simple designs read as different characters. Use colours and patterns to define mood and persona
Your Cubee character and beyond! small changes make BIG differences add hair and props add more geometry add more complexity to the base
Game Art Design – Critical Studies
38 GAME 1002 Week 2 Art Direction 1 Emma Ash, Michael Powell August 2014
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Presentation Notes
Small changes make big differences to character design Add hair and prop add-ons You can add more complexity to the base character Add more geometry The best character designs start off as a simple idea or design, and then grow and develop
Paper Art
Game Art Design – Critical Studies
39 GAME 1002 Week 2 Art Direction 1 Emma Ash, Michael Powell August 2014
Paper characters by Alexei Lyapunov and Lena Ehrlich from ‘People Too’
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Inspiration Look at these paper characters. What is the story? How has the artist conveyed story and emotion?
Takeaways: believable silhouette readable fit for purpose ICONIC
Game Art Design – Visual Studies
40 GAME 1004 Week 1 Introduction Emma Ash, Michael Powell August 2014
Takeaways: believable beast the research silhouette work hard and fast readable don’t concept too soon fit for purpose AVOID EMOTIONAL ICONIC ATTACHMENT
Game Art Design – Visual Studies
41 GAME 1004 Week 1 Introduction Emma Ash, Michael Powell August 2014
Further reading For essential reference, you should get the Andrew Loomis books – there is no better introduction to the technical skill of observational drawing, and this skill will help you develop believable characters
Game Art Design – Visual Studies
42 GAME 1004 Week 1 Introduction Emma Ash, Michael Powell August 2014
