Epidemia Z Thesis Book

CONCEPT ART THEORY AND PRACTISE

BA Graphic Communications Dissertation Peter Stytianou U114N0590 Spring 2015 University Of Nicosia

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DISSERTATION DEPARTMENT OF DESIGN AND MULTIMEDIA SPRING 2015

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abstract

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The main aim for this dissertation is to look into what concept art is and the lack of knowledge and understanding. A deeper investigation through published books and magazines answered three main questions.

A deeper understanding is initially required in order to understand the techniques used in order to produce the final concept art in the limited time required. In order to present the idea to the company and let it becomes something real. Through the questionnaire I found out about the common trends and how this can be applied and influence a video game and its concept art. Along with this, the dissertation looks at the production process and how concept art generates ideas, concepts and creativity.

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table of cONtents

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CHAPTER I

THE BEGINNING....................................................10-13

CHAPTER II

LITERATURE REVIEW................................................15

2.1) What is Concept Art and why is it important in generating ideas, concepts and creativity?..........................................................17-22 2.2) How is concept art used in game development and media production?...................23-27 2.3) What skills and techniques are involved in concept art?.........................................28-35 The Final Judgment................................................36-37

CHAPTER III

CONCEPT ART THROUGH THE EYES OF A GAMER............................................38

Focus Group............................................................39-45 Questionnaire Results.............................................46-52 Recommendation based on findings................................................................53-55

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CHAPTER Iv

TARGET AUDIENCE ANALYSIS..............................56

Analysis...........................................................................57 Understanding................................................................57 Demographic.................................................................58 Interest............................................................................58 Environment..................................................................58 Expectation....................................................................59

CHAPTER v

DEVELOPMENT............................................................60

Logo..........................................................................61-66 Peter...........................................................................67-84 Nikki..........................................................................85-94 Peter And Nikki.......................................................67-84 Nikki VS Zombie....................................................67-84

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Robyn........................................................................61-66 Various Infected......................................................67-84 Animals And Environment...................................85-94 Vehicles.................................................................141-144 Weapons And Assets..........................................145-148 Stickers And Fonts..............................................149-151

CHAPTER v

BIBLIOGRAPHY...........................................................152

Figures...................................................................154-156 Books............................................................................157 Magazines.....................................................................158 WWW Documents..............................................159-160

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chapter I THE BEGINNING

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Concept Art is a form of applied art used to convey an idea for use in films, video games, animations and comic books before it is put into the final product.

Concept art is also referred to as visual development and/or concept design. From the beginning of video games, concept art is used to generate the main idea or belief. The combination of concept art and the culture of video gaming has led to a popular belief that concept art was the “real� of each game. Concept art creates the structure for the style of the individual game and unlike film concept art, the video game concept art is made prior to the game being made for advertising, fan art and for subsequent game versions.

Concept art is necessary within video games as it is used for planning and development of the game. It exists in its own right as a paratext to video game and is solely featured as a representative of the game in posters(fig.1), stickers, art books and as advertisements for the games. Video game makers stress the importance of concept art to game developers (Clarke and Mitchell, 2007). The first version of concept art was different from the later conceptual art in a significant dimension. Concept art as defined by Henry Flynt, was that concept art was an art form of which the primary element is an idea, for example, the primary element of music is sound. Conceptual art is a form of art about art, in which ideas about art are a form of

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philosophizing (it becomes the art itself) (Breder and Busse, 2005). The concept art that will correspond with this dissertation will be able to stand alone as an initial idea for a game. The aim is to create artwork that could be used alongside a game, for example, within a game art book, promotional material and posters.

Concept art is needed in the industry as much as consumers are needed; it can be a weapon, environment, character, or anything that the industry requires the concept art to be. The artwork can be decided on what it looks like and what the art style should be, concept art visually communicates the product through its various stages of development. (Longmire, 2014)

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Figure 1

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chapter II LITERATURE REVIEW

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INTRODUCTION The use of concept art has been widespread within the game industry for some time, a simple sketch and a computer generated graphic help illustrate a storyline and help the story unfold within the parameters of the scene. Alternatively concept art is static art pieces created with great detail that help the development team understand what the individual characters, locations and scenes will look like. This art can prove to be helpful when making your initial pitch to a publisher and can get your team working with a unified vision of what the game will look like. Concept art is used to establish the artistic elements of a particular character or location (fig.2) (Newman, 2009).

This dissertation aims to answer and address three key questions: (2.1)What is Concept Art and why is it important in generating ideas concepts and creativity?

(2.2) How is concept art used in game development and media production? (2.3) What skills and techniques are involved in concept art? By answering these questions will contribute to creating and understanding on what is concept art and why is important within production and development.

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Figure 2

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(2.1) What is Concept Art and why is it important in generating ideas, concepts and creativity?

Concept art is often associated as a form of visual development. When it comes to the visual development of concept art it is referred to as the look and feel of the project. Most of the time concept art starts of as a rough sketch (fig.3) and creates an interpretation of the game; often it can relate to strong feelings of the environment and elements of the story which hinge on the art itself (Raymond 2014). When it comes to concept art the starting point is always a graphic.

To get a general understanding of what concept art is we can look at a character design by John Sweeney, the lead artist of the popular video game The Last Of Us (fig.4). This image accomplishes many different commodities; initially it gives players a look and feel of what the game is about. Furthermore it shows audience the organic and natural feel and concept of the infected characters that they would face within

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the game. Within video game production conceptualization is important for many diverse reasons, for instance: it gives the artist an idea and a guide to create the environment from, without using concept art to give a direction, the project would essentially go into the production phase blind (Raymond, 2014).

Figure 3

Figure 4

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In addition concept art can provide a vision of the experience that the game is trying to achieve. A well rendered image creates a strong game design and makes an idea clear for everyone to see. It can also let people see the game environment through imagery.

Moreover it creates an abstract prototype that, in the end, can generate more concept art. It creates a drive to make more art and give ideas on how the game should be played. The idea of recycling art and ideas makes for a beautiful game. Where the artwork and the game completes each other (Schell, 2008). The fundamental purpose is to convey a representation of an idea through the look and the feel of a game or animation, with emphasize on the overall vision. We live in a modern and visual age, where before we set out a project we want to see what it will be like visually. It is important to know that concept art can range from mood shots to detailed schematics of a prop or character. The main aim and purpose is to reduce the margin of error and in the end reduce the time and cost of a project. By focusing on exploring ideas and effectively communicate them. It’s not having finely finished pieces of work that offer little or nothing new in terms of design, mood and feel because concept art is part of a bigger production process as opposed to being its own entity in a book or magazine (Pickthall, 2012).

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The concept of an idea can be done literally, verbally and visually. Communicating ideas often requires an understanding of the subject in order to create a believable concept that can grab a target audience. Communicating an idea is the first skill found in concept art. The second skill is the design. Design forms a visual vocabulary and concept art needs to bring out the right mood with elements of design. The main purpose of design is the look of a specific piece.

Concept art in general has many subsets and each can be a specialization because of the knowledge required for each subject. The subsets include: 1) Character/creature design which can include anatomy, fashion and personality.

2) Environment design which features a different skill set such as knowing how the weather effects an environments condition. (fig.5) 3) Key art which is illustration that portrays a specific frame for production purposes 4) Props and vehicle design; this explains frame by frame movement for animators to understand the movement of the prop. The prop and vehicle design is closely related to industrial design (fig.6)(Galiban, 2012).

The main thing that an artist wants to achieve with concept art is to create an alluring image that shows the early stage of the game and its development. The subject matter and the whole story line of a game

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Figure 5

Figure 6

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comes to life through concept art, it is something that is basically intended to show an idea through a traditional form of art. Concept art is about defining a problem in creating a graphical solution. This art form can reference real world material and has a balance between combining a number of images and original creations. Just like in the real world, function is a prime component of design (Tsai, 2007). Since the beginning of videogames concept art (fig.7) has been used to generate an ideal that gives a complete look and feel to a game. Concept art becomes a structure which games develop formed, it is necessary for video games to use concept art as a form of planning. Concept art serves video games in the same way storyboards serve animators; concept art basically creates the game structure and allows the game to exist (Mitchell & Clarke, 2007).

Figure 7

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2.2) How is concept art used in game development and media production?

Concept art is initially a form of illustration that is used within game development; The art conveys an idea before it is added to the project. Game developers use concept artists exclusively in order to perform a specific tasks. The most common types of concept art within game development is usually science fiction or fantasy, but due to how games have evolved, it is now possible to find concept art on any theme or topic imaginable. Initially concept art is used to sell an idea to a company before the game is actually developed or goes into production. The idea of concept art in game development is that it appears anywhere that an idea needs to be showcased. As the saying goes, a picture is worth a thousand words. Concept art showcases the visual elements of a game and how it will look before any art assets are produced for the game. The concept artist will work mainly with a lead artist and a lead

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designer on what the characters, levels and objects will look like in the game, the process is manages by the lead artist and the team to give feedback. Concept art can take several weeks to create depending on how much needs to be generated and how detailed it is and how quickly an artist can create and developed a concept.(Chandler and Chandler, 2011).

The art director usually directs the art department where a lead artist usually supervises the game art team and is often involved in the daily game art production process. There are four basic tasks that differentiate game artists: drawing, modeling, texturing and animation. There are also different types of applications that a artist can focus on - this includes characters, props, vehicles, interiors, exteriors, environment, effects, cinematics and interface.- A concept artist creates and works with several game documents.

These documents help organize the ideas and clearly convey them to others. The concept document is intended to express the basic vision of the game, this includes the games premise. Sometimes this document is expanded into a proposal of the game, this provides more details on the game story and characters.

These concept documents incorporate the story’s theme, structure, and a few significant plot elements.

The document is not a detailed discussion of all the possible paths that character can take within the game.

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Finally the game design documents are used as a reference for the development team and include the plot elements related to the game play. The development of this document occurs during the design phase of the project (Novak, 2008). The concept development phase checks the idea for a game and works it up as an outline and tests it out on potential audiences. The aim of the design document through the design phase is to produce a physical document that can be given to a game development team. The game itself is likely to undergo many stages of development as it is tested.

Arguably the creation of the game design document is the most important phase of the game development process. The game concept is defined within this document as well as the function and technical specifics of the game. A design document consists of three parts: Game concept document, Game design document and the technical design document. (Digital Worlds - Interactive Media and Game Design, 2008) An in depth look at how a game is developed from concept to completion takes many steps that vary from developer to developer, however the high level elements of what goes into making a game are fairly universal. The game production pipeline consists of four phases. The first phase is the concept, the genesis of all the games that are available are a simple concept or idea. The original concept is just a basic

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initial idea of what the game can be about. The game’s conception can start as a simple idea of either wanting to make a follow up or sequel to an existing game title. The second phase is the pre-production phase; this step is done in the game development process and includes a varied number of staff, including producers, designers, programmers, artists and writers. Together working as a team a comprehensive design document is created. A prominent aspect of the pre-production phase incorporates the designers overall blueprint of how the game would be played, this is where the designers and in some cases the programmers must decide on what happens in each screen. After the pre-production phase is completed and the overall blueprint has been finalized, the development of the game enters the third phase. The third phase is much larger and consists of a bigger group of people, the artists that work within this phase, work on building the game to show how the user will see it. The artists consist of concept artists and 3D artists. The final stage of the games development is the post-production stage, this begins when the game is considered “completed� and all the code has been written and the art work is finished and completed. (IGN, 2015) The vision or core concepts that differentiate from game to game are created during the idea conceptualization stage. This stage provides a wide creative

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sketch of the whole game and can merge the game play and the context rather than any actual coding or art, although some concept art may be put onto paper to clarify the vision.(Wolf, 2008) The concept artist creates the characters in a style that is intended to be like a blueprint which is handed over to the 3Dartist. (fig.8) The concept art controls the visual style for the entire game, ensuring that it is consisted and implements the aesthetic of the project. (McGuire and Jenkins, 2009)

Figure 8

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2.3) What skills and techniques are involved in concept art?

A concept artist needs skills and techniques, the techniques needed require a specific set of tools.

Software is among many of the tools that is needed and many techniques used within creating concept art images; these include photo manipulation and understanding Exposure/Lighting, Shadows, Highlights, Surfaces, Materials, Textures, Translucency, Reflections, Composition, and Color Temperatures.

Photo manipulation techniques can be rather difficult to master, but not hard to experiment with. Once you get the hang of it, anyone can transport any idea onto the computer screen using Adobe Photoshop.

Photo manipulation techniques are used by many designers to create extremely creative and imaginative works of art. It is enormously popular amongst most graphic designers and concept artists who choose to

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use Photoshop. The wildest imagery to the simplest idea can be conveyed through Photoshop using photo manipulation. There are ten main focal points for successful photo manipulation. We all know that photo manipulations take various images (either stock images or ones you’ve photographed yourself) and merge them with others on a Photoshop canvas. This is known as rendering your images, most people who are familiar with Photoshop use the Pen tool to cut out there images, but if the image is incredibly hard to cut out then even the Pen tool will not help you. So you might consider using a program called Vertus Fluid Mask. (fig.9) This program lets you render out images in a matter of minutes using special masking tools that cannot be found in Photoshop.

Figure 9

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Photo manipulations are made so that you can bring out things that would never happen in the real world.

Shadows are the next focus and the second technique you should know before starting a photo manipulation project or concept art image. A simple way to make them is to duplicate your original stock that you need the shadow for. Then turn it completely black, then add a Gaussian Blur to it. Proportion is probably one of the most important things a person has to grasp if they want to do any photo manipulations. The idea is that you can not have your dog bigger than your house, or your horse bigger than your car. If the design that is going to be made is extremely farfetched, it should look realistic and proportions make a huge difference in how realistic your artworks looks. You have to remember where you want to place your images.

Below is an example of great proportioning. You can see that there is a castle all the way in the back of the image and note how small it is. It is important to remember that images that are supposed to be far away have to be smaller than the ones that are closer to you.

Textures (fig.10) don’t necessarily add to the realism of your art, but they do add as a nice way to blend all your images together evenly. Blending is a huge part of photo manipulation, so textures are something you have to carefully pick out. Textures add to the depth of your art. If you are trying to go for a photo

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manipulation that is dark and dirty looking you can use a rough ground surface as a background texture; or if you are looking for something smoother you can use paper, or a wall texture. It is important to remember that if you do not have a background for your photo manipulation, you should use a texture that will match the mood you are trying to set in your art, but not every image you use is going to match your background, your texture, or even your other images. So that is where color blending comes into play. Things like Photo Filters and Gradient Maps are used in Photoshop to either add or take away color in your images.

Figure 10

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This either gives a certain image that little boost of color, or takes away that extra color that doesn’t match your artwork. This helps the images blend with one another and most importantly form a nice coherent work of art. Colors like pink, white, yellow, and orange blend together easily. So that is what you should look for at first.

Images are like missing puzzle pieces, without them you can never fully complete the puzzle. You may need to look at multiple stock images before choosing the right ones for your composition, you also need to plan your composition before opening Photoshop, it is ideal to take out a piece of paper and a pencil, then sketch out your design or idea. If you’re only doing a rough sketch, it takes about two minutes at the most.

Consider where the stock images will go as you sketch and decide the kinds of images you’ll need to find (Agarunov, 2008) Another type of technique used in Photoshop (fig.11) is that of digital painting, there are a few things that one must consider many things while painting, such as: Layers, Exposure/Lighting, Shadows, Highlights, Surfaces, Materials, Textures, Translucency, Reflections, Composition, and Colour Temperatures.

These techniques are mainly for realistic styles of digital painting. A brushstroke should also look efficient and consistent with the rest of the painting and your

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colour scheme choice. You might also have an idea or style which disallows certain colors or textures and puts priority on other things. When it comes to light there is really just one kind of light. It bounces and reflects. You can only see the light if it enters your eye.

Light does two important things when it hits a surface.

First, a part of it is absorbed, this is how colours are made. A red apple reflects mostly red wavelengths, the rest are absorbed and turned into heat or something.

That’s why black stuff get so hot in the sun. Anyways,

Figure 11

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the reflected light bounce away differently depending on the surface. If the surface is bumpy it will bounce away sort of randomly, like a tennis ball that hits rocky terrain. If the surface is smooth it will bounce away in a predictable path. A mirror is very smooth so the light comes back undistorted, so we can see our reflection. It is good to remember that all surfaces have speculars, because speculars is just reflected light.

It’s just more broken up/diluted on dull surfaces. The sunlight is much stronger than the skylight, which is in turn much stronger than indoor light. Our eyes adapt automatically after a while, and we can also adapt by squinting or just focusing on an object. Because we do this without thinking about it, it’s hard to understand that our eyes are actually kind of limited. This limitation becomes even more obvious with cameras. If you take a picture indoors, the windows will become overexposed (bright). You might try to adjust the exposure levels to the window light, but then the indoor environment will become underexposed. This can be used to your advantage. By for example putting a character or object in the foreground where it’s darker, you can make the silhouette read well against a well lit room.

Light means that there will be shadows, shadows are quite flat and generally less saturated than the lit side. It’s easier to notice ambient light in the shadows. Shadows get blury over distance, this is called

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diffraction. Strong light can penetrate the surface of some materials and bounce around, then exit again.

This will increase the saturation and make the surface look illuminated from the inside. In the case with human skin, we sometimes see it on hard edges between light and shadow, but it is easy to get carried away and go over the top with highlights. This makes it hard to see what colour the subject is. Instead you should use shadows to describe the volume of the subject (Jansson, 2015).

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the final judgment Through research I recomment that concept art is a vital stage within game development as it helps to layout the initial idea in a visual form. The research has shown that the beginning stages of a game are planned out through concept art, this art work creates the basic look and feel of the characters, weapons and environments. Concept art becomes a structure which games develop from, it is necessary for video games to use concept art as a form of planning. The concept art is necessary for any pitch. The research shows that the art work created by the concept artist is used as a prototype of the game and is helpful in selling the idea without having to create a full working game .This shows how concept art translates into the final look and feel of a game and media production, thus showing how concept art is used within game development.

In conclusion the research based on various literatures proves that concept art can stand on its own and that concept art is a necessary part of game development.

Concept art in gameplay and in game development plays a key role in illustrating ideas and views and how

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elements should look in a game. Concept art also plays a big role within the design document that is handed on to the development team. Concept art is necessary for any presentation. The art work created by the concept artist is used as a prototype of the game and is helpful in selling the idea without having to create a full working game. This shows how concept art translates into the final look and feel of a game and media production. When it comes to creating concept art, it is important to understand the software you are using along with lighting techniques and the techniques that follow with photo manipulation, from starting by gathering the reference material to creating final images by using techniques and skills. Concept art needs to be generating new ideas and novel shapes. The concept artist needs to be versatile enough to illustrate pretty much anything, in every position. Conceptual photo manipulations are all about depicting an idea, message, or story that a digital artist wants to convey to their viewers. In a conceptual photo manipulation the idea is the primary motive for the piece (Vora, 2011).

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chapter III CONCEPT ART THROUGH THE EYES OF A GAMER

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FOCUS GROUP In order to create a storyline and a visual style it felt necessary to include people from a selected target audience. A survey was created and was answered by 92 individual people. The questionnaire (fig.12) was based on if people bought a game based on its artwork; the responses provided a direction that the concept art for this dissertation could go. In order to get a clear understanding of what people thought about concept art was and why it is important. A simple open comment text area was created to allow each person to answer honestly what they thought. People were also given the chance to share their favorite zombie post apocalyptic game and movies, by adding this into the questionnaire it gives a clear direction of what the storyline should be, in order to captivate an audience that has been bombarded by many different types of zombie games. This also showed what is actually popular style wise and what kind of style the concept art for this dissertation should be.

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Figure 12 Part 1 Of 6

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Figure 12 Part 2 Of 6

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Figure 12 Part 3 Of 6

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Figure 12 Part 4 Of 6

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Figure 12 Part 5 Of 6

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Figure 12 Part 6 Of 6

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Questionnaire Results What is your gender?

Male (76)83% Female (16)17% Does the art of the video game affect your decision when wanting to buy a new game Yes No

(85) 92% (8) 9%

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Do you know what concept art is?

Yes No

(82) 89% (9) 10%

Would you buy a book that has the concept art of a game?

Yes No

(68) 74% (24) 26%

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What type of art style would you choose for a post-apocalyptic zombie game?

Cartoon /comic Realistic Other

(22) 24% (68) 74% (10) 11%

Do you prefer to play as the pre made character or create your own pre made character (e.g. S .Leon Kennedy) Character creation(e.g. World of Warcraft)

(38) 41% (64) 70%

Do you think post apocalyptic video games is the next big thing ?

Yes No Other

(28) 30% (52) 57% (14) 15%

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What do you find more engaging in a video game?

Graphics (49) 53% Story (74) 80% Gameplay (74) 80% Characters (50) 54% Customization (35)38% A.I( (31) 34% User Interface (17) 18% Sound (33)36% Other (6) 7% Do you believe that concept art is the most important part on every video game collector edition?

Yes (47) 51% No (41) 45%

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If your answer is Yes , what are your top 3 zombie - apocalyptic video games The Last Of Us Dying Light Residen Evil Left 4 Dead Other

(60) 63% (53) 57% (47) 48% (42) 43% (32) 34%

What are your favorite zombie / post- apocalyptic movies?

The Walking Dead (81) 83% Dawn of the Dead (75) 78% 28 Days Later (67) 69% Shawn Of The Dead (56) 58% Resident Evil (51) 53% Zombieland (45) 46% Other (32) 34% What genre of games do you want to see on a post apocalyptic- zombie game?

First person Shooter Third person shooter RPG

(48) 52% (33) 36% (40) 43%

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MMORPG Action/ Adventure Other

(19) 21% (36) 39% (4) 4%

In this game what types-era of weapons would you rather have Vintage (knight swords-past) Existing (Ak-47-present) Futuristic (plasma-ray guns-future) Other

(46) 50% (51) 55% (22) 24% (8) 9%

Would you rather have a real world scenario story line than a made-up one?

Real World Scenario Made-up one

(51) 55% (49) 53%

Which style of zombies would you rather see?

The classic zombie (e.g : not mutated or evolved) a variety of futuristic zombies ( e.g : left 4 dead: spitter and smoker Other

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(42) 46% (46) 50% (10) 11%

On this type of games you want To explore the world and collect everything (64) 70% To have a nice story and get attached with the character (65) 71% Just kill the zombies for fun (24) 26% Other (3) 3%

Date Count February 22, 2015 67 February 23, 2015 16 February 24, 2015 8 February 26, 2015 1

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Recommendation based on findings In conclusion the questionnaire provided mixed opinions but most people answered that concept art is in fact an important part of video games and the video game development. The responses provided a clear direction in which the concept art intended to go with this dissertation should go stylistically. Many people would agree based on their responses that there is definitely a specific style of zombie game that is more marketable than others, for example the Resident Evil (fig.13) series which is a classic zombie apocalyptic game and The Last Of Us (fig.14) which is a newer video game and takes a new direction when it comes to viruses and the infected.

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Figure 13

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Figure 14

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chapter Iv TARGET AUDIENCE ANALYSIS

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ANAlYsIs The target audience ideally would be gamers from ages 16 and above who enjoy post apocalyptic and surviving games, of any race culture and gender. The particular concept art aims to recreate a scene of a real life situation and is expected for the gamers to find solutions to defend the obstacles and eventually survive from both Mother Nature and zombies.

UNDERsTANDING The audience is people that have an understanding for technology, solving puzzles and follow a leadership.

Not only is a game to kill your time, you also sharpen your senses and make your brain more active on decisions.

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DEMOGRAPHIC The Demographic of this project would ideally be both genders as not only men play video games anymore. The age range is from 16 and above.

INTEREST The interest is that the genre of this game is popular with gamers today

Environment The environment that this game would be played is on computers, gaming consoles, portable devices such as handheld gaming consoles, smart phones and tablets (android and ios)

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Expectation Through this concept art the creation of the particular video game is possible. Through the experience, gamers will have an understanding that will impact their lives in a positive manner.

The outcome of this project should generate enough interest from the concept art to make a actual game out of an idea.

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chapter v DEVELOPMENT

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logo The Logo is based on Research, questionaire results and todays trend. It also represents the idea of surviving,a rough and hand drawn feeling. I was looking for words that have a link with spreading infections, viruses, zombies and post apocalyptic scenario. Names such as: Almost Dead, Journey of the Undead, Z015 (from the acronym Z of the word Zombie and the year 2015), Telos(greek word for The End), Epidemia Z (greek word for Epidemic), APOCALYPZE (from the acronym Z of thwe word Zombie and the word Apocalypse ) I choose the word Epidemia as my main logo, the reason behind it is that it expresses my concept art , and the idea of the spread of an infectious virus. The acronym Z for zombie is to shows what this epidemic is spreading and that it is turning the infected into bloodthirsty zombies.

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From the hand drawn word i tried different fonts.

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The final logo consisted of: black #000000 red #ff0000

YouMurderer BB font. Created in 2007 by Blambot

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peter

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Ideas for main male character pose and facial features

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Development process of the main male character

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male character pose two

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Development process of the main male character, pose two

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Development process of the main male character

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Development process of the main male character: pose three

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Character assets, front and back

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Character expression development

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NIKKI

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Development process of the main female character

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Character assets, front and back

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Character expression development

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peter and nikki

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nikki vs zombie

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I used these assets to create a zombie like texture

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Images that are ovverlay to create the background

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robyn

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Doctor zombie development

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Final version of the doctor

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Character expression development

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various infecterd

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Development of the first zombie

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Zombie development transformation

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Development of the second zombie

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Zombie development transformation

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Development of the third zombie

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Zombie development transformation

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Development of the oriental zombie

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Zombie development transformation

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animals AND ENVIRONMENT Development of various infected animals (in cyprus)

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Idea of dead town overrun with infected cats

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I wanted to create a test animal that carries the antidote, i like this idea from the 1995 movie “Outbreak’’.

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Images used to create an environment

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Development of a barricade against zombies

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Development of a destroyed village

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vehicles

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Vehicle design, i wanted to create realistic ways of using renewable energy

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weapons and assets

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For the weapons i wanted to create something that you would be able to create with things you would find lieing around during an apocalypse

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STICKERS and FONTS As a type of promotional material i created stickers sets that come with the concept art book

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Designer: Brian Willson Design foundry: Three Islands Press Source: Three Islands Press I used this font for the journal entries.

It has a handwritten feel

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Designer: Apostrophe Name: Day Roman I used this font for the bible passages

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chapter VI BIBLIOGRAPHY

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figures Figure 1 page 11 Cdn4.dualshockers.com, (2015). [online] Available at: http://cdn4.dualshockers.com/wp-content/uploads/2014/06/The-Order-1886-Game-Wallpaper. jpg?eaa32f [Accessed 25 Apr. 2015].

Figure 2 page 14 ArtStation, (2015). Dying Light - Concept Art, Waldek Kamiński. [online] Available at: https://www.artstation.com/artwork/dying-light-concept-art [Accessed 25 Apr. 2015].

Figure 3 page 16 Unseen64: Beta, Cancelled & Unseen Videogames!, (2014). The Last of US [Beta - PS3] - Unseen64. [online] Available at: http://www.unseen64. net/2014/12/01/mankind-the-last-of-us-beta-ps3/ [Accessed 25 Apr. 2015].

Figure 4 page 16 Concept Cookie, (2013). Art Book Review: The art of the Last of Us | Concept Cookie. [online] Available

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at: https://cgcookie.com/concept/2013/10/24/artbook-review-art-last-us/ [Accessed 25 Apr. 2015].

Figure 5 page 19 Formtrends.com, (2015). Huey Lee on the MercedesBenz AMG Vision Gran Turismo ÂŤ Form Trends. [online] Available at: http://formtrends.com/huey-leemercedes-benz-amg-vision-gran-turismo/#.VTvj_5Mav-t [Accessed 25 Apr. 2015].

Figure 6 page 19 Multiplayerblog.mtv.com, (2015). [online] Available at: http://multiplayerblog.mtv.com/wp-content/ uploads/2011/03/deadisland3.jpg [Accessed 25 Apr. 2015].

Figure 7 page 20 Video Game Museum, Blog, & Store, (2015). Original Pac-Man Concept Sketches. [online] Available at: http://www.videogamemuseum.com/2010/07/06/ original-pac-man-concept-sketches/ [Accessed 25 Apr. 2015].

Figure 8 page 25 Video Game Museum, Blog, & Store, (2015). Original Pac-Man Concept Sketches. [online] Available at: http://www.videogamemuseum.com/2010/07/06/

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original-pac-man-concept-sketches/ [Accessed 25 Apr. 2015].

Figure 9 page 27 Vertustech.com, (2015). Photo Editing Software, Digital Photography Image Editor Programs - VertusTech. [online] Available at: http://www.vertustech.com/ [Accessed 25 Apr. 2015].

Figure 10 page 29 Texture-mania.deviantart.com, (2015). texture 1. [online] Available at: http://texture-mania.deviantart. com/art/texture-1-93583056 [Accessed 25 Apr. 2015].

Figure 11 page 31 Elephorm.com, (2015). tuto photoshop concept art. [online] Available at: http://www.elephorm.com/infographie-pao/formation-photoshop/apprendre-photoshop-concept-art.html [Accessed 25 Apr. 2015].

Figure 12 page 38-43 Google Docs, (2015). Concept Art through the eyes of a gamer. [online] Available at: https://docs.google.com/forms/d/1t_ zjNtWV93PLZZ-x3ohqCREI5R96E77gn3Ibbw7N3lk/viewform [Accessed 25 Apr. 2015].

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Figure 13 page 52 B-TEN, (2014). 31 Nights of Halloween - Resident Evil - B-TEN. [online] Available at: http://b-ten. com/2014/10/04/31-nights-halloween-resident-evil/ [Accessed 25 Apr. 2015].

Figure 14 page 53 Just Push Start, (2015). gaming-the-last-of-us-coverart. [online] Available at: http://www.justpushstart. com/2013/12/ps3-holiday-gift-guide-2013/gamingthe-last-of-us-cover-art/ [Accessed 25 Apr. 2015].

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BOOKS 1) Clarke, A. and Mitchell, G. (2007). Videogames and art. Bristol, UK: Intellect.

2) Breder, H. and Busse, K. (2005). Intermedia. Norderstedt: Books on Demand.

3) Newman, R. (2009). Cinematic game secrets for creative directors and producers. Amsterdam: Focal Press/Elsevier.

4) Schell, J., 2008. The art of game design: a book of lenses, Burlington:Elsevier Inc. 5) Mitchell, G, & Clarke, A., ed., 2007, Videogames and art, Bristol:Intellect Books.

6) Chandler, H. and Chandler, R. (2011). Fundamentals of game development. Sudbury, MA: Jones and Bartlett Learning.

7) Novak, J. (2008). Game development essentials: an introduction. Clifton Park, NY: Delmar Cengage Learning.

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MAGAZINES 1) Tsai, F. , 2007. The 20 Rules Of Game Concept Art. ImagineFx, July, p87-89.

WWW DOCUMENT 1) Longmire, M. (2014). Concept art in the games industry. [online] matt’s thoughts on games. Available at: https://matthewlongmiregs134.wordpress. com/2014/02/11/concept-art-in-the-games-industry/ [Accessed 28 Feb. 2015].

2) Raymond, J.,R. 2014. What is concept art and why is it important?. [ONLINE] Available from: http://artistryingames.com/concept-art-concept-art-important.

[Accessed 05 November 2014].

3) Pickthall, J., 2012. Just what is concept art? [ONLINE] Available at: http://www.creativebloq.com/career/

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what-concept-art-11121155. [Accessed 05 November 14].

4) Galiban, R., 2012. What is concept art ?. [ONLINE] Available at: http://www.randbin.com/what-is-concept-art/. [Accessed 15 November 2014].

5) Digital Worlds - Interactive Media and Game Design, (2008). The Process of Game Creation & the Game Design Document. [online] Available at: https://digitalworlds.wordpress.com/2008/04/10/the-process-ofgame-creation-the-game-design-document/ [Accessed 28 Feb. 2015].

6) IGN, (2015). The Game Production Pipeline: Concept to Completion - IGN. [online] Available at: http://www. ign.com/articles/2006/03/16/the-game-production-pipeline-concept-to-completion?page=2 [Accessed 28 Feb. 2015].

7) Agarunov, E. (2008). 10 Techniques That are Essential For Successful Photo Manipulation Artwork - Tuts+ Design & Illustration Tutorial. [online] Design & Illustration Tuts+. Available at: http://design.tutsplus.com/ tutorials/10-techniques-that-are-essential-for-successful-photo-manipulation-artwork--psd-242 [Accessed 15 Mar. 2015].

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8) Arne Niklas Jansson, A. (2015). Digital Painting & Concept Art with Photoshop. [online] Available at: http:// www.floobynooby.com/ICG/artvalues.html [Accessed 15 Mar. 2015].

9) Vora, S. (2011). Clever Conceptual Photo Manipulations That Tell a Story - Tuts+ Design & Illustration Article. [online] Design & Illustration Tuts+. Available at: http://design.tutsplus.com/articles/clever-conceptual-photo-manipulations-that-tell-a-story--psd-12191 [Accessed 15 Mar. 2015].

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