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The Art of Gaming

The Art of Gaming

The Art of Gaming

Games can transport you to anywhere a developer’s imagination dares to go. They take us to distant worlds, fantasy realms, and anywhere in space and time. These experiences are often so immersive that it’s easy to forget how all our favourite characters and game worlds were once a collection of simple sketches dreamed up by an artist. In this book, we celebrate the work of artists in the video game industry and speak to leading designers from some of the world’s best studios. Discover how studios create the stunning cinematics that drive storytelling in games, plus other insider secrets. Budding concept artists will also find plenty of tips and techniques in our tutorials and masterclasses, so you can have a go at bringing your own ideas to life.

Country:
United Kingdom
Language:
English
Publisher:
Future Publishing Ltd
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In this issue

1 min.
welcome

Games can transport you to anywhere a developer’s imagination dares to go. They take us to distant worlds, fantasy realms, and anywhere in space and time. These experiences are often so immersive that it’s easy to forget how all our favourite characters and game worlds were once a collection of simple sketches dreamed up by an artist. In this book, we celebrate the work of artists in the video game industry and speak to leading designers from some of the world’s best studios. Discover how studios create the stunning cinematics that drive storytelling in games, plus other insider secrets. Budding concept artists will also find plenty of tips and techniques in our tutorials and masterclasses, so you can have a go at bringing your own ideas to life.…

1 min.
the art of gaming

The Art Of Gaming Editorial Editor Jacqueline Snowden Designer Lora Barnes Editorial Director Jon White Senior Art Editor Andy Downes ImagineFX Editorial Editor Claire Howlett Art Editor Daniel Vincent Senior Art Editor Will Shum Group Editor in Chief Amy Hennessey Brand Director Matt Pierce Contributors Emma Birch, Katy Stokes Cover images Even Mehl Amundsen, CD Projekt Red, Darren Bacon, Matej Jan Photography All copyrights and trademarks are recognised and respected Advertising Media packs are available on request Commercial Director Clare Dove clare.dove@futurenet.com International Head of Print Licensing Rachel Shaw licensing@futurenet.com Circulation Head of Newstrade Tim Mathers Production Head of Production Mark Constance Production Project Manager Clare Scott Advertising Production Manager Joanne Crosby Digital Editions Controller Jason Hudson Production Managers Keely Miller, Nola Cokely, Vivienne Calvert, Fran Twentyman Management CChief Content Officer Aaron Asadi Commercial Finance Director Dan Jotcham Head of Art & Design Greg Whitaker Printed by William Gibbons, 26 Planetary Road, Willenhall, West Midlands, WV13 3XT…

7 min.
the 20 rules of game concept art

“A concept design job in games means being able to communicate ideas clearly and effectively” A question I often hear from people who are not in games or art-orientated industries is: “Do you get paid to play games all day?” Obviously the answer is “no”, but it is possible to be paid to design and draw all day, which is just as good, if not better. “How do I become a concept designer for the games industry?” is another question I’m often asked. There are many different paths you can take to achieve this goal, but they all involve certain common elements. I’ll talk about some of those, but probably the main thing to remember is that the job is principally about design – yes, illustration and rendering skills are very important,…

7 min.
concept art masterclass

Before I reveal how to create strong environments art, perhaps I should explain what I mean by strong art. These are paintings that are easy to read, quickly conveying clear designs or stories to the viewer. There can be few artists who haven’t spent hours working on a piece, attempting to add details that end up being unnecessary. My tips should help you to avoid falling into such a situation. You’ll learn how to construct your images by building up a solid foundation and composition, design a lighting scheme that can help to sell your idea, before finally applying the detailing layer. These tips will also help your conversation with the art directors when you work professionally. Sometimes, they will just tell you that the piece doesn’t feel right to them, but…

14 min.
director’s cut

If the many graphical sophistications that have become staple parts of modern video game design, it’s fair to say that the sheer excellence demonstrated in cinematic cutscenes is not given anywhere near the same prominence as the in-game graphics engines that make gameplay so immersive. At its most primitive level, the cutscene is a narrative device designed to flesh out the game world beyond what the player can control, often serving to advance a plot forward, chart character development or highlight prominent thematic details. “A cinematic is the walkway between a film and the game,” suggests Franck Lambertz, VFX supervisor at MPC. “It should be a moment to get the player into the right mood for your game.” Until the dawn of 32-bit processing power in the mid-90s, the hardware restrictions of…

2 min.
assassin’s creed iv: black flag

CREATE TIMELY CUTSCENES “Don’t make a cutscene just for the sake of it. The whole thing with cutscenes is that you’re taking control away from the player, and if you’re going to do that there needs to be a good reason. If not, players will resent you for it and will skip it.” Josh Scherr, lead What was the timeframe for the game’s Defy trailer? FF: Our crew consisted of three matchmovers and eight rotoscope artists for the preparation during a six-week period. After that, we had a team made up of two animators, three FX artists, two lighters and four compositors working on the trailer for eight weeks. What were the workflow challenges you faced? RH: On shots like the upper deck, we had to handle different layers: 3D renders, live-action plates, rotoscoping,…