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.
Ross and Carl will explain their process and some of the challenges of finishing high end film & drama work in HDR & SDR, and additionally offer advice on workflows that may be useful for devs to avoid issues when producing content for multiple colour-spaces and monitor types.
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.
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?
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Ian Livingstone, CBE
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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!
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Mike Bithell Games
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