Entries RSS Comments RSS

Author Archive

Tsar Graphics: Silhouettes

Friday, January 22nd, 2010

Hello and happy new year!

Ok, ok, I know we already are in the third week of the year, it so happens that, as usual, we were very busy since the 10th when we returned from our brief break. After more than half our studio went to Argentina, have our headquarters at Azuri Building reordered and having reviewed the next Tsar Project milestones, it was about time to write again here!

Planning the invasion.

I decided to start 2010 continuing my presentation of the Tsar Project’s character design. The last phase I’ve showed in my last post was the creation of a generic character that defined the game’s general visual aesthetics.

Once again, the Father of All Tsar Art.

After this I started designing other characters using this chosen style. After drawing more guards, some adaptations were made and I started to focus on a very important aspect of Tsar Project’s character design: designing different groups of characters by their silhouettes.

Early design for the Tsar Guards

The silhouette is one of the most recognizable aspect of a character and the shape can say a lot about function, abilities and even the personality of a character. I started with the guards that were categorized into different functions by the Game Design and after that this was extended to all characters of the game.

More early designs.

Beyond the useful function of identification these different silhouettes became an important visual feature to convey the vision that our protagonist has of the people, animals and creatures that inhabit the Moscow Kremlin.

This concept was further improved, as all things seen or heard in the game will be filtered by the subjective perception of the protagonist. When the time comes, we will speak more about it.

In a future post I will further explain the character design development. See you soon!

More guards in my next post!

Tsar Character Design

Friday, December 18th, 2009

Hello again!
Bruno already told you in the last update, I’ve just finished the character concepts arts. I’ve done around 100 concepts since the start of the project, and I think that, having finished the entire set, it’s a good time to start telling you the making of those characterss, back from the first week of April 2009.

Crowd Concept

At that stage of the project we’re working in the Tsar Project for a month, basically developing the idea, researching and searching for plots that would express our goals. And then came the question: how to translate all this visually?

To answer this I’ve first worked in the characters graphic style. Interestingly, after those 8 months, and all the researches I’ve done along with Ingrid for our graduation project, we’ve developed a methodology of creating visual worlds focused exactly in the characters style.

Semenov
Some of our first references were illustrations by Vladmir Semenov

This creative process started with the selection of a character that could be both generic enough so it won’t need many individual features and could carry as many cultural and contextual elements as possible. A soldier was a natural choice at the time: we’ll have plenty of them in the Kremlin and they seemed the more neutral characters in the cast. Upon that, Muscovy armors and arms from the period were some of our major visual references in the beginning of the project.

Early Concepts

Set the character, a Muscovy soldier wearing a heavy armor  and wielding a spear-axe, I’ve done a set of sketches during the first two weeks of April. What I had in mind was to see all the possibilities, from realism to pure geometric abstraction, from childish cartoons to the complex frenchphonic comics. The result was the next image, that we now call the Father of all Tsar Art. He’s a hand drawn lad 2 and a half inches high, made of indian ink and markers.

The Father of all Tsar Art

The next step was choosing a direction to go and explore it deeper, testing other characters in the same style. I’ve done that with another soldier, lighter and faster, and with a nobleman. A very synthesized style turn to coherent and flexible, allowing good consistency for the characters without needing too much visual complexity, just what we’re looking for.

And how the character creation continued I’ll tell you on my next post! See you soon!

About maps, tools and paint. 2/2

Saturday, November 28th, 2009

Hello again!

As I was saying, Easy Paint Tool SAI is remarkably different of other painting software, but now let me explain it better. Among those fundamental differences is the Water brush. Unfortunately I jut can’t tell exactly what makes this brush so special, even 2 months after my first contact with it and the intensive work I’ve done in it in the last weeks. The fact is that it is simply different of any brush I’ve used in Photoshop and Painter. To give you an idea it’s similar to the Artist’s Oil brush in Corel Painter, the one, by the way, that I used most until now. But Water has an unique dynamic of use, it’s trace just flows, it can vary opacity, color and width by pen’s pressure, and it blends and changes the colors already in the canvas in a awesome way. To show you a little about this dynamics I’ll present now a simple walk through of one of the Concepts I’ve been working on, an Outside Yard of the Moscow Kremlin Palaces.

In the first step I’ve traced the plan of the two stories of buildings that would be done, I’ve used just the Water brush with Noise at this point.

step01

After that I’ve started the illustration proper. It was done using some layers, as it would be useful have the concept being modular and flexible, being able to represent both outside and inside areas. One of the main goes of this concept was to map tilesets, the pieces of patters and textures that can be applied on surfaces, making easier to cover big areas. In this case it happened specially in the ground, the roofs and in stonewalls, where the tiles where used in a much more loose way then normally it’s done, not having geometric precise limits and normally leaving gaps that I would fill manually. I’m considering using this same loose system in the final graphics of the game.

tiles&patterns

Now to SAI’s high point, in my opinion: lighting. It has some features of layer blending that are really amazing. The one that caught my attention in the first glance was Lumi&Shade, great to create both projected light and enlightened objects. As the name suggests, it blends luminance and hue, helping in creating nice lighting effects. Another essential is PassTrought, that is applied to layer groups and allows each layer’s blending mode to interact with the layers outside the group. It’s quite important to allow the layers being properly organized.

Lumi&ShadeSAI interface

So, at the end of 3 weeks of work (during which I’ve been creating 3 other background concepts, helping Bruno and Ingrid create the character’s color test vector files and already doing some of those color tests myself), the result of the Outside Yard is this:

OutsideYard

Now I’ve gotta go, my trial period with SAI is running out and I must go buy it to continue my work. Incidentally, one more good thing about it: a single license costs just 50 dollars.

See you soon!

About maps, tools and paint. 1/2

Thursday, October 29th, 2009

Oh hello there!

In this last fortnight the Design Guys have written a little about the level design of the Tsar Project. As Beto said, today I’ll show something of the translation of the architecture researches we’ve done and the level design created in the background concept arts. And even more, I’ll talk about a really great software we’re using, the japanese Easy Paint Tool SAI.

Kreml

So, it all started with 17th century maps like this one above (a crop of a dutch map published in 1662 that covers the area between Beklemishevskaya and Nikolskaya Towers of the Moscow Kremlin). Those maps show us the Kremlin just after the start of the Romanov Era, when it past for several changes. The exact period in which we focused our researches for the Tsar Project is considerably blurred by time, we’ve had a hard time in finding what we needed to start the reconstruction of the palaces proper. It was then, and continues to be, a great luck and reason of happiness to us, to count with the collaboration of Julia Tarabarina, a historian of russian architecture and editor of the Russian Architectural News Agency.

Maps&Plans

With the proper orientation we’re able to continue the development of the level design, according to the architecture of the 16th century buildings, and start creating those schematic maps Beto told you about. The next step was then to translate plans, references and level design into concept arts. The point here was to create imagery that would both communicate the mood of the game and be a preview of the different types of tiles, textures and lightning effects that we would use later on the project.

And then SAI came up. A good friend of Aduge, a fish from the design college called Okazaki, presented me this tiny software (it’s installer being smaller than 3Mb) that is tremendously useful. As the name emphatically tells, Easy Paint Tool SAI is a user-friendly digital painting software. What the name doesn’t say is that, despite the minute size of the software and of it’s Tokyo based development team, Systemax’s SAI is, imo, far more precise and powerful than Adobe’s Photoshop and stratospherically more intuitive and fluid to use and configure than Corel’s Painter.

Easy Paint Tool SAI

To be continued…

SBGames 2009 in one big nutshell.

Friday, October 16th, 2009

SBGaems

Hello again!

As promised, today I’ll present a more complete review of what we’ve seen in Rio during the SBGames. Yesterday we had our weekly meeting and basically discussed about the Symposium. Undoubtedly the most important aspect of our participation in the event was the networking we did there: game industry consultants, the Brazilian Ministry of Culture (MinC), publishers incubating programs, fellow developers, students and researchers. Secondly we agreed that the panels, as Bruno said three days ago, were the highlights of the event. Two of them, on Game Development Education and Governmental Policies, promoted some good discussion, but sadly also highlighted some misconceptions that are still deeply stuck in the minds of many in the Brazilian Game Industry and Educational System. Some of these include: the belief that is by trying to do the “Next Halo” – as put by Jason Della Rocca – that new developers will prevail, that there is no opportunity in remaining independent and in small business, that games should be viewed as simple entertainment industry goodies, that the artistic aspect of a game is limited to it’s visual aesthetics, that sound design is something alien to game development, that Game Design has more affinities to Product Design than with Chess, and so on. But don’t worry, as a coin has two faces there’s always the bright side. We discovered that the MinC has a very interesting opinion of Games and their artistic value, found some small developers and starter teams with some nice ideas and made some good acquaintances. Jason’s keynote was a very interesting and provoking exposition. Talking about the trends and the innovative cycles that permeates our industry, Jason urged the Brazilian developers to ignore the mainstream box (big budget, big teams, blockbuster AAA titles) and look for other ventures (indie, casual, advergames, etc.) to flourish. We hope that those wise words will be heard by the Brazilian developers.

Next Halo Killer
Other remarkable pieces of the Symposium were the Indie Game Festival and the VideoGame Art Exhibition. Despite the short time we had to appreciate all the material in them, both seem to be great initiatives and had some good material to present. The sad part is the huge disparity of the contents. The Art Exhibition presented some concept arts and visual assets with artsy aesthetics (although in general the final assets tend to completely destroy the most beautiful and experimental concepts trying to look “realistic”), a nice character design competition (with both good ideas and childish-awesome-super-ultra-characters) and specially good exemplars of games with artistic meaning, such as the indies Passage, Gravitation and I Wish I Were The Moon. On the other hand, the games in the Indie Festival, as we were able to percieve them, lacked in general the deeper meaning and potential to transform a player through reflection and/or more experimental mechanics that are among the key features of many indie games done around the world. Many of the games in the Indie Festival had more garage-made-like, low budget features, and a clear desire to be a mainstream game, instead of focusing on innovative and experimental ideas, creative freedom or meaningful experiences. Once again we spot the evilness of the “Next Halo” Syndrome, even small teams tend to believe that the best way to go is, with a team of less than 20 people and a small budget, try to do something that will compete with EA, Ubisoft and Activision-Blizzard. So, remember Jason’s words and let’s start thinking out of the box or, even better, show us that there’s already more than meets the eye in the Brazilian industry. As I said in the first lines of the post, the greatest treasure of the Symposyum was networking, and people we met in this and the past SBGames give us hope that the second option is true. Some of them are our friend Guilherme Xavier and his team from Donsoft, the developers of the great winner of the Festival, the promising Capoeira Legends.

So, creative minds, bold designers, indie developers from Brazil, we call you all, we ask you to show yourselves!

Tsar Update #002: Iosifka and a Milestone

Tuesday, October 6th, 2009

civisblog

The last fortnight was a productive one. The game prototype is now running in 0.1 version, we’ve got the pathfinding algorithms improved and our test dummy character; a Kremlin Guard warmheartedly called Josino, Iosifka in Russian; is getting it’s first scratches of a.i., starting with the ability of hearing, which, by the way, will be of great importance for both NPCs and the Player in Tsar Project.

Another important Milestone achieved in this last week is that all the initial ConceptArts for the Characters are done, that means that we’ve completely defined the aesthetics of the game and the appearance of all the classes of characters and the individual special ones. At this stage the Visual Art Department changes it’s focus to the Backgrounds, and Character Design will be on hold ’til we got the initial development of the Concepts for the rooms of the Kremlin, which is scheduled to end at the end of the Month. Talking about schedules, the Project Schedule has just been revised and optimized in a new project management tool this week.

In the other Departments, Beto and Bruno finished the most important aspects about the Game Dynamics (combat and ambient interactions, to be specific), the Enemies descriptions, and have planned the next steps of the Level Design documentation. Aural Art Department just finished the plot of the Conceptual Soundscape. And, last but not least, our dear Screenwriter is heavily working in the creation and development of the many scenes and dialogues of Tsar Project including the multiple endings of the game. Of course, her work is highly confidential as it is a torrent of spoilers.