If I had to Art Direct "Ryse: Son of Rome"
This is my process. . .
Considering the Competition
Establishing the Context
Defending your Argument
Save the Cat! The power of starting with a logline. . .
Simplying the Goals
Key Concept Art
Breaking it down!
Breaking it down!
References are important!
Establishing Contrasts
Shape Language
Establishing the Enemy
Finding Originality
Character Design
Depth to Character
Building Atmosphere
One More Thing. . .
Pushing the Envelope
If I had to Art Direct "Ryse: Son of Rome"Never underestimate the power of branding. Use their fonts, their colors and take it a step further! I sometimes experiment first on the deck template and the title/logo to find an emotion: in this case, stone and blood.
This is my process. . .
Considering the CompetitionWhen the discussion of expectations arise, my first instinct is to understand what the assumed playing field will be when a product releases; what are the graphical trends, design mechanics, features, etc. This provides a lot of context and starts what I call tactical art direction and focus.
Establishing the ContextPublishers usually already have a good sense if a genre will make money or not. If marketing information is not available, then I google as much as I can about the viability of the genre, and make a case for it, both visually and culturally.
Defending your ArgumentIf you're going to ask a publisher for money, you have to be able to answer why.
Save the Cat! The power of starting with a logline. . .Blake Snyder wrote a great book on screenwriting and story structure. I apply it to art direction: fundamentally, if I can't explain my visual approach in one or two sentences, then I'm not asking or answering the right questions. This is a key step to remaining focused and tactical!
Simplying the GoalsOnce Design has their objectives laid out, I either appropriate them for art direction and/or add my own objectives based on the needs of the brand and the expectations of the publisher.
Key Concept ArtWhenever pitching to a publisher, it's always best to use that one piece of key concept art that embodies the emotional and visual tone of the brand. Whenever I create a concept, I try to imagine it from the player's perspective, painting a narrative from left to right, portraying likely assets in the game yet keeping a balance between the visual goals and development realities.
Breaking it down!I love this part the most: giving reason to imagery. I try to be very deliberate in how I compose concept art and include all the ingredients I feel would not only be in keeping for the brand but also help make a beautiful game!
Breaking it down!I explain all my major points leveraging photo reference that ties as closely as possible to the visual direction as possible. I try to be as specific and grounded as possible so the art direction is clear, concise and easily understood by everyone, especially the team!
References are important!I'm so happy I received a BA in English Literature. I spent a majority of my time in the library doing research, the same techniques I applied to finding appropriate and useful photo reference. The more specific and topical my reference the more fresh and compelling the visual direction!
Establishing ContrastsEveryone loves progression, whether it's a movie, a game or a book. I try to use pallet and atmosphere as a tool for narrative as much as possible. In this case, the transition from sunny warm Mediterranean colors to the gloom dampness of the English countryside.
Shape LanguageEqually as important is to establish consistent and clear shape language. It doesn't have to be complex, it just has to be effective. The closer the visual language reinforces narrative the more immersive the player will feel.
Establishing the EnemyWhen working in well-trodden grenres, I always try to find unique references. Sometimes it takes longer and sometimes I don't find it, but I strongly believe in contributing something new and fresh to a product, especially if it's part of a franchise. It's how to keep a brand fresh and relavent.
Finding OriginalityI not only push to be original and distinct, but I try to be as specific as possible without losing sight of the emotional value. Fine Art, film reference, even cultural references outside of what is considered conventional help to contribute fresh viewpoints.
Character DesignI even take visual cues from toys and models to emphasize what's important and what isn't in believable character design.
Depth to CharacterRegardless of how good your shaders are or how big your poly budget is, if the character doesn't have a sense of depth through layering and variety in textures and color, it will feel like a Barbie or a Ken doll. I seek practical wear and tear, every surface should tell a specific detail of that character's life.
Building AtmosphereI truly believe in "back of the box features". These are selling points that can help differentiate one game from another. Whenever I'm part of a project, I always try to make a practical case for a rendering and/or F/X innovation, as long as it's appropriate to the brand and design's vision.
One More Thing. . .
Pushing the EnvelopeI wouldn't be a very effective art director if I didn't let my inner child out. Growing up collecting Peter Connolly's historical picture books was a great inspiration in building this pitch. A publishder can tell, and maybe even appreciate when you bring something personal to the project.
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