Game visuals today range from iconic mobile graphics to lush AAA productions and now of course the shift towards virtual reality and a return to photo-realism. Our Art Track will provide artists with inspiration, practical advice, best-practise guidance and real-life case studies from not just the games industry but other creative industries too.
This talk describes the tools, technology, and techniques used to build the varied environments needed for the digital adaptation of the Gloomhaven board game for Flaming Fowl Studios. It covers the game requirements and constraints, the generation pipeline that was built, the procedural scene elements involved, the interactive nature of the tools, and, the decoration, population, and styling of maps.
Atomhawk is an award winning visual development studio. Since being founded in 2009 they have been involved with developing concept art for some of the world’s best know franchises, including Halo, Call of Duty, Minecraft and FIFA. This talk will look at the current concept art development process and then explore how this will likely change in the future. The talk will explore how areas like AI will be leveraged for speed, scope and creativity. How technology and tools will need to evolve to ensure work is fit for purpose. And, ultimately, the skillset that artists of the future will need to embrace to ensure they stay relevant and able to perform in the games industry of the future.
• Practical understanding of the current visual development stages and process (“I know how concept art is made and the stages involved”) • Case study examples from AAA projects (“I learned how art is made for a famous game I am familiar with”) • The emerging role of AI in art development (“I got an insight into how artificial intelligence will enhance and replace some elements of the current process”)
• Insight into new tools and technology (“I learned about new plugins and technology that people are beginning to use to help make art. I might try them myself now.”)
• Advice on the skills required to be an artist in the games industry in the future (“I learned which areas to train in to ensure I stay relevant in my field”)
Exploring a wide variety of non-realistic aesthetics using custom shaders to allow maximum flexibility and creativity. Nick breaks down his approach for achieving diverse visual directions by focusing on a workflow that allows traditional art techniques to guide visual style. He explains how using principles like limited values, edge quality, local colour variation etc. directly within shaders can give maximum artistic control and also yield results that feel more handcrafted than more standard approaches. This talk also covers how it is possible to incorporate elements such as photogrammetry assets and realistic textures into the process and still achieve cohesive, stylized results.
The brief for Skye Tales was to create a user interface for a game that didn’t want a user interface. This talk goes through the full process of that UI / UX development and how the team tackled creating an interface that felt more like another part of the world than a menu. Diegetic UI is all about creating UI that doesn’t break the immersion of the world, and for Skye Tales the goal was to create something that felt just as tangible and interactive as the world around it. This is an examination of the entire UI / UX development process of Skye Tales and the various iterations of the UI, with insights on the challenges of working in an indie games environment and the learning curve for a graduate in their first professional games role. Skye Tales is Puny Astronaut’s debut title, a game that follows the adventures of Skye the friendly dragon in a world that couldn’t be happier to see you.
• Insights on creating diegetic UI/UX for games
• A comprehensive look into the UI development process for Skye Tales
• Lessons learned as a graduate UI developer in an Indie studio
A talk built around being a concept and production environment artist on Battletoads (2020) and how having to create unique art for 10+ different game modes pushed me to be not only a better artist but a 'smarter' one in the way I which I performed my job. Covering the process of working on the art for 2.5d brawler, 2D platformer, over the shoulder bike racer, top down space shooter and more. As well as working directly with design and the creative director to incorporate visual storytelling into the experience.
The story of how Spiral Circus came to be might not be a unique one, but it is an inspiration to all artists who one day wish to make their own game, in their own way.
Tom Mead will share the story of his career from traditional artist to forming a games company, securing a publishing deal with London publisher Sold Out and then being thrown straight into a two year development. Along the way Tom had to figure out how to build and streamline a process that both worked efficiently and complimented the style of the art.
The talk will cover Toms early art career and what lead him into games development, the how and why. As a non technical and usually traditional artist Toms regular methods had to be quickly altered to fit into the ever demanding and fast paced games environment.
This session will talk about what it is like to work as an artist at a games studio that co-develops games with other studios.
We will discuss what work for hire is really like for an artist, how and why it is growing, and detail the pros and cons of being at a work for hire studio.
Questions that we might discuss -
What is work for hire and how does it compare to working for a studio with its own IP?
What are the pros of working for a work-for-hire studio and what are the cons?
What might be the differences from an artist's pov in terms of workflows, skillsets, mindsets etc?
Why is co-development growing and what might the future look like?
Come to this interactive panel to ask creative directors some burning questions that all artists face during their careers. Bring your questions and maybe some answers.
Discussion topics will include:
Develop:Brighton brings together the game dev community to share ideas, learn and be inspired by each other. So if you have an idea for a conference session we'd love to hear it. Hurry - the deadline for submissions is 25 Feb!find out more
Develop is an excellent way of catching up with people – there’s a really nice community feel here.
Mike Bithell Games
Develop always gets put in the diary. There are many reasons to be here, not just the talks, but the networking, people exchanging ideas about where the industry is right now and where it’s going to. It’s pretty essential to be here I think.
Ian Livingstone, CBE
Develop:Brighton’s a great conference. It’s got a spread of people from all parts of the games industry talking about such a wide range of topics.
I absolutely love coming to Develop, it’s a brilliant, brilliant conference – you just know you’re guaranteed to meet everyone.
Jo Twist, OBE
There’s really something for everyone at Develop and the experience of being around like-minded people is really useful.
Develop is the must-attend event for the games industry in the UK. It’s where we all come together and learn from each other. It’s the best way into the industry and it’s the best place to learn from your colleagues.
Develop:Brighton is especially unique - it’s by the seaside and there’s a lovely relaxed tone that goes with that.The talks are cool, the networking is cool and having the opportunity to catch up with people – that’s always the excitement for me!
There’s something creative about Brighton, so it’s the perfect place to have the conference.
There really is a huge mix of people at Develop - loads of peers that you can learn from and the perfect blend of every element of game development as well.
It’s really nice to see some of the younger people in our studio come to Develop, interact with other people in the dev community and make new contacts. I think it’s really important to learn from other people.
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