Paul Bowers- Research Assignment 2012 (WIP)
Character Concept Art development process
This blog will outline a process of concepting a character from initial brief through to final presentation, It will describe a thorough yet efficient method of developing concept art for game characters, it can also be applied to any other assets such as vehicles, machines and even environments.
This process will include key steps for exploring and refining a concept and implementing feedback from an art director, lead artist or peers, ensuring an appropriate level of effort is applied to each level of development as the investment of time and resources escalate.
The iterative stages outlined below will maximise your exploration of the character and enable key points for feedback and intervention by the art director or lead artist. This is a key factor when developing artwork in a team based, commercial environment.
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Getting Started:
The Brief:
A description of the asset in question and the context in which it is used. Ideally this should include;
Character Description:
A
description of the characters primary role and context in the game as well as the characters primary physical features,
any weapons and costume style.
Eg.
Male Human Clone Heavy Trooper with Shotgun and grenades:
The Heavy troopers main role is an enemy
ground soldier who moves with slow
determination until he is enraged. The
heavy troopers are clones mass produced from a factory in the year 2040, they show
very little individuality aside from varying battle scars and repairs to their equipment and uniform,
Trained to show no emotion
in battle their faces remain very impassive or stoic until enraged.
"A male heavy trooper who is battle weary yet stoic and proud. His hardened face is grizzled with a rough stubble with deep set intense eyes, his hair is a marine style buzzcut. His body is very tall, solid and muscular with large arms and hands covered in grime and scars. He is dressed in worn army fatigues with a flack jacket vest, several grenades are strapped to his vest. The overall style of his outfit is near future with urban style camouflage of steel blues and greys. His primary weapon is a short bulky shotgun. around his thick neck hangs a worn set of Dog-tags. A shotgun ammo belt wraps around his upper torso and a pouch laden Utility belt hangs loosely off his waist."
A Wordlist:
A breakdown of the key features extracted from the brief
which outlne any important characteristics. this will help you to focus on the
key traits of the character.
Eg
Heavy
Muscular
Tall
Solid
Grizzled
Intense
Scarred
Near future
Urban
Camouflage
Shotgun
Grenades
Ammo Belt
Dogtags
Utility Belt
These elements can influence many different aspects such as build and posture, costume, facial features and overall expression.
These elements can influence many different aspects such as build and posture, costume, facial features and overall expression.
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The Style guide:
When working with a predefined style ideally you should have access to a style guide, this document is usually produced by the lead artist or art director and will outline in depth things such as colour schemes, line style and the overall mood of the game.
A good style guide should also have some key notes and directions such as specific techniques, resources, things to be aware of and things to avoid.
It may also have some preliminary mock-ups as well as general references to get you started.
Eg: Liberated
Pixel Cup styleguide
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Preliminary Referencing:
Accumulate reference images pertaining to the overall style of the game as well as aspects of the character derived from the brief mentioned above. The more relevant style references you have the better, dont forget any reference images included in the style guide
TIP!: It may be a good idea to run through these by the Art director or lead artist and discuss any key elements.
Mood Board:
This is a collage of the most relevant references combined into a single image for easy referral at any stage. Try and keep this visible at all times,
Eg:
From http://detectivegrimoire.blogspot.com.au/2010_11_01_archive.html
TIP!: These refences should be available to you throughout the whole development process. Try printing them out and hang it on your wall to free up monitor space.
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16 xThumbnails:
Very rough small sketches which explore the assets main characteristics. These sketches will help you experiment with the characters proportion and posture. Exploring different directions to take them while ensuring that you are keeping inline with the overall game style outlined in the style guide.
TIP!: These refences should be available to you throughout the whole development process. Try printing them out and hang it on your wall to free up monitor space.
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16 xThumbnails:
Very rough small sketches which explore the assets main characteristics. These sketches will help you experiment with the characters proportion and posture. Exploring different directions to take them while ensuring that you are keeping inline with the overall game style outlined in the style guide.
NOTE: Even Archtypical characters can come in
all shapes and sizes, this is when
you should be considering how you want to express their primary traits.
For example the Heavy from Valve's Team Fortress 2TM is bulky and strong but
isn't your stereotypical muscle man "V" shape, he needs a lower
center of gravity to heft Sasha his low-slung and heavy mini-gun.
"The Heavy" from Team Fortress 2TM by
Valve Software
TIP!:
OFF THE WALL!
Include a few ideas that take elements to the extreme or add something bizzare at this stage as variety is key to a thorough exploration of the initial brief. You may find something totally unexpected that works or at the very least can show you what you dont want to do.
Include a few ideas that take elements to the extreme or add something bizzare at this stage as variety is key to a thorough exploration of the initial brief. You may find something totally unexpected that works or at the very least can show you what you dont want to do.
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1st Critique:
This is where you will collaborate with the Art director or lead artist and discuss the overall direction of your thumbnails in regard to the overall style, brief and the requirements of the assets.
1st Selection:
Collaborate with the Art director or lead artist and choose the best thumbnail for further development. You can also mix and match elements to create your 8 preliminary Silhouettes.
NOTE: Limit the number of people who provide feedback in this selection process, following popular opinion in your creative process has a tendency to homogenise ideas at a point when you are refining a clear and specific direction. Politely acknowledge what others may have to contribute but try to maintain a clear channel of feedback and development.
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8 x Silhouettes:
This is the stage where you should develop your initial thumbnail into 8 varying silhouettes
Silhouettes are like the shadow your character would cast if they were behind a white screen.
Silhouettes are a way to clearly represent the overall shape of the character such as size, weight, posture and costume elements. These elements should all be used to add distinction (ways in which the character will be easily recognisable to the viewer under all lighting as well as at a distance).
Posture: (not posing)
Posturing is different to posing as the characters posture is a neutral stance. It doesnt have to be an orthographic T-pose but a relaxed and neutral stance which gives the viewer an idea of how they generally carry their weight. A 3/4 (partway between a front view and a side view) will also give a clearer idea of a characters stance.
Posing on the other hand is the portrayal of the character performing a specific action or standing/sitting in a particular fashion.
TIP!: Imagine the way they would stand if told to wait in a long queue at the post office.
Costuming:
A characters costume may dramatically alter the characters silhouette so it is important to explore the characters major costume elements and proportions at this stage. Its also important to consider how the various elements react to the characters posture and how they are worn. Also bear in mind elements such as heavy armour, a tight corset or large weapons may in turn affect the posture of the character.
A characters costume should also reflect elements of the characters personality traits, social status, culture and function.
Artist: Erik Sanjuan
If a character has a tendency to use a particular armour or weapon type it is also a good idea to include these in your silhouettes as they will also affect both the characters silhouette and posture.
Image from Team Fortress 2TM by Valve Software
NOTE: When adding costume and accessories to you character distribution of detail is also important. The eyes find a figure much more interacting if there are "Areas of rest" (or little detail) contrasting with "Areas of interest" (places where the viewers focus is drawn.)
As with the thumbnail process try to experiment with different variations and ideas but use the thumbnail as the basic direction. If at this stage you or your art director /Lead artist are not sure of the general direction it is headed select a different thumbnail and try again.
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2nd Critique:
As with the first critique discuss with the Art director/lead artist the various elements of your 8 silhouettes.
2nd Selection:
Choose 1 (or a combination) of your silhouettes for further development. The Silhouette you choose should be immediately identifiable as the character outlined in the brief.
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9 Detail Designs
B&W Values - Volume and Shading:
This is the stage where volume is applied to the character by adding basic light and shade as well as any broader areas of tone and patterns. Use broad strokes of 2 or 3 mid-tones to describe the characters volume as well as tonal values. Be sure to establish a light source and its direction, keep this consistent across all 8 Silhouettes
This is the stage where volume is applied to the character by adding basic light and shade as well as any broader areas of tone and patterns. Use broad strokes of 2 or 3 mid-tones to describe the characters volume as well as tonal values. Be sure to establish a light source and its direction, keep this consistent across all 8 Silhouettes
At this stage you should begin to develop some of the major
elements and variations in the costume design as well as overall tonal values.
Costume and Detail:
This is where you should develop the key details and features of the character. These sketches can be as rough or refined as you feel is necessary to get all of your ideas across.
If there is a particular area of detail such as the head it is a good idea to copy and enlarge it separate from the body so you can focus on these elements with more clarity.
At this stage try not to add elements which change your original silhouette.
NOTE: The distribution of tonal values (contrast and shading) should also take into account areas of rest and interest.
This is where you should develop the key details and features of the character. These sketches can be as rough or refined as you feel is necessary to get all of your ideas across.
If there is a particular area of detail such as the head it is a good idea to copy and enlarge it separate from the body so you can focus on these elements with more clarity.
At this stage try not to add elements which change your original silhouette.
NOTE: The distribution of tonal values (contrast and shading) should also take into account areas of rest and interest.
Artist : Adrian
Cruceanu
Environment and Format:
Environmental factors such as lighting and format (how the character is mainly going to be seen) need to be considered.
In a dynamically lit environment areas of shadow will also be emphasised by the cast shadows and ambient occlusion and could become too dark in certain areas.
Conversely characters who will be in a statically lit environment should use these tonal values to simulate lighting and shadow where appropriate. A Character that is seen primarily from a top down view would be lighter toward the head and darker at the feet to emphasis depth.
Environmental factors such as lighting and format (how the character is mainly going to be seen) need to be considered.
In a dynamically lit environment areas of shadow will also be emphasised by the cast shadows and ambient occlusion and could become too dark in certain areas.
Conversely characters who will be in a statically lit environment should use these tonal values to simulate lighting and shadow where appropriate. A Character that is seen primarily from a top down view would be lighter toward the head and darker at the feet to emphasis depth.
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3rd Critique:
As with the previous critique discuss with the Art director/lead artist the various elements of your 9 shaded designs.
3rd Selection:
Choose 1 of your shaded silhouettes for further development. At this stage you should have made all of the major decisions regarding how the character is going to look overall, It is important to ensure that the design selected here is in line with the overall vision and style of the game and that it conveys most of the character traits outlined in the brief.
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Specific Referencing:
Gather reference for any specific areas that will help you visualise structure and behaviour of various features such as muscle structure, clothing and materials.
NOTE: Dont forget to research and reference any materials patterns and textures you want to use, as well as the overall costume these can be a clear indicator of a characters time period, personality, status and culture.
Iconic elements and imagery:
Especially in modern and futuristic concepts and design specific trends tend to emerge based on current popular culture, the design of things such as clothes, cars, and other accessories are all influenced by current and emergent technology or the social zeitgeist (spirit or the age of the time). Using Iconic imagery will add greater depth to your characters design by the assosciations people make to the things they see in other media around them.
3rd Critique:
As with the previous critique discuss with the Art director/lead artist the various elements of your 9 shaded designs.
3rd Selection:
Choose 1 of your shaded silhouettes for further development. At this stage you should have made all of the major decisions regarding how the character is going to look overall, It is important to ensure that the design selected here is in line with the overall vision and style of the game and that it conveys most of the character traits outlined in the brief.
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Specific Referencing:
Gather reference for any specific areas that will help you visualise structure and behaviour of various features such as muscle structure, clothing and materials.
NOTE: Dont forget to research and reference any materials patterns and textures you want to use, as well as the overall costume these can be a clear indicator of a characters time period, personality, status and culture.
Iconic elements and imagery:
Especially in modern and futuristic concepts and design specific trends tend to emerge based on current popular culture, the design of things such as clothes, cars, and other accessories are all influenced by current and emergent technology or the social zeitgeist (spirit or the age of the time). Using Iconic imagery will add greater depth to your characters design by the assosciations people make to the things they see in other media around them.
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6 Colour plans:
At this stage the character should be blocked in with areas of colour exploring both scheme and composition. It is important to use colour theory as a guide when creating an overall colour scheme.
Artist: Pita Wannachaiwong
From: http://piyastudios.blogspot.com.au/2008/09/dragon-color-schemes.html
Similarly to the black and white shading stage use broad strokes and limit the
amount of shades to keep things fast and simple. The idea here is simply to
explore colour combinations which enhance the character, are appealing to the viewer
and are suitable to the characters environment and context within the game.
TIP!: Some people find colouring a
normal base layer with a black and white multiply
layer of their concept over it very useful.
Using an effective colour scheme can enhance the visual interest and appeal of your character. Aim to create a balance and harmony between any contrasting colour and intensity or saturation.
When using broad areas of subtle warm colours try balancing it with more concise areas of intense cool colour and vice versa. These areas of distinction and contrast can be used to draw the eye.
Lara Croft from "Tomb Raider -Anniversary" Crystal
Dynamics, Original Character by Core Design
Colour plans should also bear in mind the characters environment as well any
other Gameplay considerations such as a characters faction.
TIP!: Try placing your colour schemed concepts over some coloured backgrounds which are typical of the characters environments
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TIP!: Try placing your colour schemed concepts over some coloured backgrounds which are typical of the characters environments
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Orthographics:
If your character will be seen from multiple angles either in an animated or 3D format a back and side view are also going to be needed. These Orthographic views are necessary for concepting the various secondary viewing angles of the character such as the back and sides, as well as translating your model into 3D.
Orthographic images will display your subject in a way that is most beneficial to a 3D modeller and or animator. Humanoids are usually displayed in a "T" pose, It is also a good idea to separate any elements in views which obscure any other relevant details such as a characters arms, shields and weapons.
If your character will be seen from multiple angles either in an animated or 3D format a back and side view are also going to be needed. These Orthographic views are necessary for concepting the various secondary viewing angles of the character such as the back and sides, as well as translating your model into 3D.
Orthographic images will display your subject in a way that is most beneficial to a 3D modeller and or animator. Humanoids are usually displayed in a "T" pose, It is also a good idea to separate any elements in views which obscure any other relevant details such as a characters arms, shields and weapons.
"Mechromancer" from Gearbox's Borderlands 2TM
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Final Critique:
As with the previous critique discuss with the Art director/lead artist all of the various elements of your concept.
Final Selection:
Choose the character which works best overall in the sample environments and you're nearly done.
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Final Pass:
Now is the time to add those final small details and polish that will make your concept really stand out. There should be no major changes to the character at this stage. Be sure to render your character at a resolution which might be suitable for larger formats such as print as high quality concept art can also be used in promotional material and packaging.
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Presentation:
It is always a good idea to use a standard format for presenting your concept work, most studios will have a template format in which you should present your concept work.
Ideally your template should include:
Your Name:
Date :
Project:
Title:
Your primary Concept Image:
Orthographic images:
You also might like to include;
Your selections from thumbnail >
Colour Plans
Any separate accessories such as weapons:
Brief description:
Colour palette:
texture samples:
Colour palette:
texture samples:
Scale indicator:
Action Thumbs; small thumbnails illustrating any specific
actions the character might perform (special attacks ,transformations,
evolutions etc).
Artist: Carolina
Tello
From: http://carotello.blogspot.com.au/2009/05/dominance-wars-final-entries.html
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Thanks for taking the time to read my blog I hope you found it helpful, Any Comments or feedback most welcome.
Please visit my website at:
paulbowers.carbonmade.com
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Thanks for taking the time to read my blog I hope you found it helpful, Any Comments or feedback most welcome.
Please visit my website at:
paulbowers.carbonmade.com
Sincerely
Paul Bowers
AIE 2012
NB: Any artwork appearing in this blog is not my own unless stated. Links to sources and credits have been noted where possible.
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