Game visuals today span the artistic spectrum, 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.
In this panel veteran Art Leads will discuss what it takes to build a happy, healthy, art team. With global experience across Indie and AAA studios, we’ll discuss leadership styles, what makes a good studio culture, and how to attract the best talent. You’ll be invited to discuss any pressing issues, and will also have the opportunity to talk about your creative challenges.
Alexander (Studio Art Manager), Ash and Dan (both Principal Concept Artists) will guide delegates through the process of visdev and the overall art creation of Mediatonic’s PC and console title Fall Guys: Ultimate Knockout. The talk will cover how the art team tackled creating a Takeshi’s Castle-inspired game world full of chaotic courses that’s both unique and appealing, while also inherently a Mediatonic title all at the same time. Explore the processes behind designing hundreds of loveable, bumbling characters and costumes, all within the constraints of hardware and game design. Uncover answers to questions like ‘But what texture and density IS a Fall Guy?’ and ‘How DOES a jellybean in a banana suit look when it gets hit by a giant mallet?’ amongst other important questions.
Every kids picks up a toy and plays with it. He holds and animates the toy and there is a game he’s designed in his head I believe animation is design, why? What’s a belief of mine that has changed, and why? • Game animation is about making something look awesome! • No. Animation is making something ‘feel’ awesome. • The player has control, this is the great separation from film. • Player immersion from the interaction. • Responsiveness in the character • Prototyping animation for design Tips for designing great animation • Pace the move out. Give the animation room to breathe. Don’t try to fit too much in. • Make clear contacts. • If you have control of the camera this is a character in the scene. • Set-ups are just as important as the impact • Etc Tips for what the audience can look for now • Martial arts • How to dissect animation/film combat
Releasing a game that allows the player to be as creative as they want is challenging, especially when you provide over 3000 assets. Liesa and IJke offer a retrospective on two and a half years of art development with a highly creative player base in mind. The lecture starts with the lessons learned from Planet Coaster and how they were taken on board for Planet Zoo. It’s hugely important to anticipate the needs of players and the concept stage is used to identify useful and versatile assets. We take a look at the popularity of certain types of assets, using telemetry from the live game. We also take a look at the unconventional contribution our concept artists made. They were integral to the look and feel of the game, and they used their knowledge of the assets to create in-game buildings and scenery. Our concept artists received a new responsibility in the production pipeline; designing and playing with the in-game assets. Having our concept artists play and build in-game gave us a lot of strong assets, and an insight into which assets were missing. Finally, we take a look at balancing the game to account for multiple player types. Our game is popular with building and management players. Some like to build a beautiful zoo, and some like to build a functional zoo. Those players have different expectations and we look at which solutions we found to satisfy both.
This session will detail the purpose of game Art Bibles, the types of fields that need to be covered & ways to best structure this information for the various target audiences. This would include ensuring there is a clear understanding & alignment of your game's core purpose & razor and how these subsequently influence / waterfall down through narrative framing, game tone, art pillars, establishing visual signatures, world-building, scene-setting and practical applications of the principals & elements of art.
Making your work look dynamic but believable is always tricky problem to solve when creating characters for games. They need to be cohesive within their own world, but also relatable to the player so that they can build a meaningful connection with them. In this talk, we will be discussing various tips, practices and sources for taking your model beyond their concept art by developing our fundamental knowledge of garment creation, pattern, visual depth and power, branding and more.
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A lot of the opportunities that come from being here are speaking to other developers who are doing exactly the same thing as you. And there are some good parties – it’s very much a pleasurable work experience!
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.
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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.
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If you really want to have a good interface with the British game developer community then this is the place to come.
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I absolutely love coming to Develop, it’s a brilliant, brilliant conference – you just know you’re guaranteed to meet everyone.
Jo Twist, OBE
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