Graphics are the most important selling feature of a game
It's easier to market and successfully sell a game with good graphics, although long term sustained sales are usually dependent on the actual gameplay.
Visuals are a strong marketing tool
Note that graphics are SECONDARY to a good story and a fun game.
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Consider NEWTON'S LAWS OF MOTION
- Every object has mass and will remain at its natural state of inertia unless a force is applied to move it.
- The greater an object's mass, the greater the force that it is required to move it
- Once and object is moving, it tends to keep on moving unless it is stopped by another object, or unless it is gradually brought to a halt by friction
In other words, artists must be able to portray the effects of weight and motion on their creations
*Overlapping Action*
Break down the action of anything into two parts: starting and stopping. Issue: not all parts stop at the same time. (example of jumping girl wearing a skirt) EACH PART WILL FINALLY COME TO REST AT DIFFERENT TIMES
feet on the ground -> body recoil -> hair + clothes settling
*Overshoot*
Objects generally overshoot their mark before settling back into their final position.
ex: bouncing
*Follow Through*
Allow carry through of movement
ex: golf: you don't stop your arm movement at exact point of impact with the golf club to the golf ball
*Squash and Stretch*
Rubbery, elastic quality in movement
Animation is the art of exxaggerating movement for dramatic and comic effect
When an object hits something, it squashes. When it rises, it stretches
*Slow-in and Slow-out*
Objects don't begin moving at full speed
Concept of acceleration
Consider gravity acting on the object
Consider what feels natural on a specific object (i.e. you don't have to do this with everything)
Not advisable for sharp movements
*Moving in Arcs*
Parabolic curves
i.e. throwing a ball -> there is a curvature
*Anticipation*
To maximize the drama or comic effect, it's important to signal the audience that something is about to happen before it actually does happen
ex: Jumping: get into a jumping position first before jumping
*Takes and Double Takes*
take: reaction to a certain event
ex: Holding a hot surface
holds (does not notice) -> looks -> bug eyes (reaction) -> action of response to the predicament (screams in pain)
double take: two takes/ two looks; does not quite register the situation
ex: Sees beautiful girl.
girl walks by (character sees but does not pay a lot of heed) -> exclamation -> action of response (looks back at the girl)
*Holds*
Deliberate pauses in an action from dramatic effect
Beware: Do NOT leave characters in a static position without even an eye blink or shift in position
*Force and Drag*
Object connected to other objects via certain points
ex: arms and legs
*Staging and Posing*
Choreographing characters' actions so that their meaning is immediately clear to the viewer
Guidelines from Larry Lauria (Disney animator)
1. Posing involves mainly the key poses
2. Exaggerate the line of action
3. Look for strong silhouettes which express emotion
4. Really push your drawings
5. Look for secondary body elements to assist your posing (hair, hands, clothes, feet, etc)
*Straing Ahead Animation*
Continued drawing from one pose to the desired pose
Less advisable than pose to pose
Responive Objects
Rollovers: Changes when the cursor eters the "hotspot" that the object makes in the screen display
Buttons: Must be CLEARLY DISTINGUISHED
GIF Animations
Can be continuous or loops only once
256 colors (8-bit depth)
A form of image-flipping animation where one image overlays another in turn
Individual frames are displayed sequentially to create the illusion of movement
GAME ANIMATION
Programmer-Animated Objects VS Artist Animated Objects
Why some of the animation must be done by the programmer
- Aesthetic purposes
- Memory conservation / Optimization
Where do the actual animators come in?
- Aids the programmer on how the animation for a specific object should be
- Scripted animation (explosions, facial deformations, etc)
- Bones
POSITIONS IN THE INDUSTRY
*Art/Creative Director*
Highest position an artist can hold
Final say on all artwork
Allocation of artists to specific games
Hiring or new artists
Main art contact
Decides what software to use/purchase
Coordination with game designers
Answers directly to the Managing Director
*Lead Artist*
In-charge of all art staff on a specific project
Deals with tasking
Oversees quality
Supports his underlings
*FMV/Cinematic Artist*
Creates CG animation sequences; rendered or in-game cutscenes
What you need to know: animation, high detail modeling, texturing, lighting, rendering, compositing, editing, character design, storyboarding, conceptual work
*Lead Animator/Animator*
Specialize in creating lifelike, believable animations
Basically does what a lead artist does, but concentrates on animation
Note: good animators are VERY RARE
*3D Modeler*
Does 3D modeling
Note: Good 3D modelers know how to make the most from the least when it comes to TIGHT POLYGON BUDGETS
*Texture Artist*
Works with the 3D modeler
Needs an eye for detail
Must be capable of creating seamless textures
*Concept Artist*
Skilled in traditional art
Works closely with the game designer
Note: Usually only large developers have dedicated concept artists
*Level Designer/Mapper*
Creates levels or environments in the game
Note: A number of architects are being hired for this position
***
What must you consider?
- Art Constraints
Is this doable? (can I model this many? this complex?)
What type of art is needed? Is it 2D? 2.5D? 3D? Pixel art? Vector art?
Channel?: RGB? CMYK? Grayscale?
Size?: 300dpi? 800x600?
Is it too colorful? too dull?
- Theme
Specific color schemes?: Lots of green? No red?
What is the essence of this thing? Key features? Is it dark? Is it bloody? Is it silly? Is it insane?
- Platform
-Type of Game
- Audience
Who will play this game?
What does the target audience want to see in the game? What would appeal most to them?
- Consistency
- Engine/System Constraints
File Types? Should I use PNG instead of BMP?
Think in the programmer's perspective
programmer + artist coordination
more successful game artists are not necessarily those who are very, very good, but those who can work well with the programmer (quoted from Anino)
- Scale of the Game
- Time
Be REALISTIC in a sense that an artist should know what he or she can do and finish given the specifications
Tips and Tricks
- Ripping animation from videos/pictures
- Bones
...dadagdagan pa ^_^
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