Games Art: Final Render Pt2


Using one of my screenshots as a base, i cropped the image in order to bring focus to the character. I sketched out the character and added his attire on a separate layer and used various colours to help with my anatomy as his limbs overlapped.


I flip the canvas a lot in order to gain a better angle on which to apply the digital “ink” layer. After inking my goat I used the pen tool combined with the regular brush in order to get the straight lines in the environment.



After inking the image I coloured the goat, using the warp and perspective tools in order to make the scarf’s pattern lay more naturally. I combined the layers with the goat’s colours on and added some muted colours to the environment, and added a gradient and silhouetted in the window to quickly add depth.



By assing a gradient to the wall and different tones to where the shadows would be, I added a lot of depth to the image while still retaining the stylised theme. Adding a gradient to the wall and adding layers of different types.



Games Art: Sketchbook Studies

As part of my research into goats, I done several sketches from photo reference to better understand their shape and anatomy.

I selected a range of breeds in order to get a better understanding of the core workings, as well as an insight to similarities between different types of goat.

I looked in detail at the anatomy of the hooves, horns and face shape as these are two largely defining characteristics of this animal.

Goat Part II – Thumbnail Sketches

10 Thumbnail sketches exploring level of anthropomorphism and style.

In reading order (left > right, top > bottom) my silhouettes slowly increase in human features. The first being a very stylized goat with few human features, to a human with some goat ascetics.

5 & 8 are my favorites from this exercise.

The 5th silhouette is a goat’s anatomy stood on it’s hind legs. Reflecting a world where animals, like goats, could be in place of human characters while still retaining all of their animal features.

The 8th I would consider to be 75% human anatomy, but with the appearance of a goat with man of the features that define them. This would give the character a very defined appearance, and relateable to the human-audience.


Games Art: 4 Values Task

This task was to use only four values in order to make impressive lighting and dynamic form. I Sketched out my character beforehand, before blocking in the entire drawing with 85% grey. Then adding details based on where the light hit the character.

  • Upward facing surfaces would have the lightest colour,
  • forward facing the second.
  • And black used for details and heavily shadowed areas.
  • The Part between these was left at 85% grey.

We also had to use 100% pressure and smooth lines for this task. Which I used the Pen tool/vectors to help this process.


He was given the name V-Sync by my housemate due to his monitor-head. I liked it.

UV troubles

After a long day and night of trying to re-UV my low-poly model, sadly the deadline rolled rover before I could complete the project. I will be trying to finish the steps I couldn’t get to in my own time, as I am passionate about the object and learning the skills.

I received some help from classmates, but sadly the UV mapping went too wrong too many times to achieve anything further.


Better luck next time I guess. Can;t say I’m not disappointed that I couldn’t get passed this point…






After exporting my super smooth model from Maya, I imported it part by part into maya. Subdivided it into the millions of tris and added some so-very-high-definition texture to it.


the process was really easy after getting the settings and the workflow down. Click and drag, smooth back, rince & repeat.

My notes:

  • Divide
  • Store morph target
  • Zsub (Not add)
  • Brush: Standard
  • Stoke: DragRect
  • Alpha: Uploaded Texture
  • Click + Drag
  • Swap to Morph brush to smooth back

Here are some of the textures I very heavily modified from stock images to make my textures:


And after following this process x8 times, we’re finally done with Zbrush and can export everything as a .OBJ


World Bulding

• Proposal – Character intent

• Silhouettes
Drawing the silhouettes of various breeds of dog from references. I looked through the various traits and behaviours of each breed. Visually there were a few breeds that stood out, and finally I chose the Japanese Shiba-inu due to it’s elegance and unique visual traits.
• Sketchbook
• Character variations

Firstly, I drew Shiba inus in various styles and various poses, although I quickly aknowledged that they needed to be of a similar pose and size to be compared fairly. After this I created a three-quarter view of various levels of realism and stylistic shiba dogs and chose the one that I felt reflected the personality conveyed from the statement of intent.

After this I copied this dog, creating several rows of the outline and made simple colour palettes for each that comprised of three colours. Keeping the design simple. And after narrowing my choices to three palettes, I chose the first due to it’s simple yet distinctive colours.

• Model sheet

Model Sheet Kai_lines Model Sheet Kai
On this model sheet I used guide and a grid to ensure the views lined up correctly. After sketching the front, side and back views based on the chosen design from my character variations, I added smaller “detail” boxes to highlight details such as his eye and paw colour. I realise looking back on it that I should have including a picture with reference to the colour and shape of his maw.

• Final piece

[in progress] this was the base for my final piece. Although I did not get time to finish it, I think the pose (bringing depth to the image) and anatomy are a good start and the details that would have been added in the paint over would have bought the character to life.

• Proposal – Character Sheet
• Silhouettes

Using basic shapes I created several sketches exploring the extreme angles and curves I could use for this human character. Although exaggerated, this gave me a good idea very quickly that I could combine shapes for various parts of the design. Armour could be very angular and sharp while the character himself could have squared features to give him a tough, guardian-like physique.

• Sketchbook

img009 img008 img007 img005 img003 img002
• Character variations

char vari 2
Sketching out a rough three-quarter pose I changed various detailing on the sketches. Different armours had advantages and disadvantages in their design, complexity or practicality at stake.

This also gave me a chance to greatly experiment with the characters colours. I tested many combinations of colours and found that a more faithful, tanned akin tone fit the Egyptian character the best. I also only used colours that would have been available at that point in time, using gold to embellish the character with jewellery as they would be in Ancient Egypt, and light linen cloths that could be dyed bright colours, such as Horus’ cape.

• Model sheet

[in progress]
On this model sheet I decided to use the same technique of laying as my model sheet for Kai. The ink layers would be on two levels. A base and a layer containing his attire. This allows the modeler to create the 3D model with greater ease.

• Final piece

• 3D model

Game Mechanics:

Group name: Remnant Hope

Trello board:

Members: Ash Cox, Bhishma Ale, Denise Edmed & Mark Odillo

Role: 2D Artist, Producer.

Research, Lore & Inspiration.

Our Game idea hopped around a few concepts throughout the project, but the idea we comitted to was a 2.5D side-scrolling game. Drawing inspiration from games like Vib-Ribbon and Klona: Door to Phantomvile and the side-scrolling segments of games such as Paper Mario we had a good selection of games in the genre to give us ideas on how to tackle it ourselves.

Although the story was was a subject we did not develop in great detail, we had several key points that were consistant throughout the process, and thus could be considered “The Lore”:

  • The main character was a time/dimension traveler from the distant future.
  • This character used a device to change the time periods/state of the level. Resulting in two parallel “levels” in each stage, requiring the player to bounce between the two in order to progress.
  • Each stage of our game would take place in a different location/time period.
  • The stage we chose for our vertical slice was a fantasy-eastern setting, which would be a combination of eastern themes in order to allow us more creative freedom with using conflicting designs (Japanese straw mats beside Chinese paper lanterns etc.) – all stages would be based on real locations/times (for example, Japan/China for the Vertical slice level), but not necessarily restricted to a single place/time/event.


Having our vertical slice set in the fantasy Asian setting, I researched architecture and recognisable objects from those areas. Distinctive nature (like bamboo, large boulders, bonsai/cherry blossom) are all common in these areas. I also looked at distinctive items like samurai armour, alongside paper lanterns (found around temples) and rice paper  sliding doors/partitions found in both japan and china. This, alongside saved photo reference would give us ideas of what we could populate our scene with.

Eastern “noodle” Dragon Design

After the group had decided on theme for our vertical slice (A past/fantasy, eastern themed level) I started designing a eastern inspired dragon to act as a boss/environment piece. The original idea was to have him flying in the background of the outside of the level, then land at the end of the level.[seen below] However this was far too complicated, and he was reverted to background decoration, before being removed entirely due to complexity of modeling and animation.

Scan-notes2Left: Sketches made while discussing “Noodle”‘s purpose.


Above: Initial pitch, first sketch. several shape variations at the bottom alongside face detail, Red colour palette to go alongside the warm colour palette of the game and the theme of red items being hints/important items. Red body would also contrast the blue sky/mountains in the background.


Above: Model Sheet Line-art and concept with colour palette. Design and colour palette refined to make him easier to model/texture while still retaining unique features (mustache/mane/glowing eyes)

In hindsight, The model sheet should have been made in a T-pose like form, The dragon should have been laid out flat, like a snake, for the ease of modeling rigging (this was one of the reasons we ran out of time to model him).

Statue (Shi-shi lion/Foo-Dog)


This statue was designed to breathe fire as an obstacle for the player. The state change would be between the statue breathing impassable fire and not. The design was based off the Japanese foo-dog and the Chinese shi-shi lion. Both of which are canines with lion-like qualities. These stone statues would be static objects, The obstacle being the fire they spew.


As a predominantly 2D person with a lot of skills in Adobe Photoshop. I took on the role of creating seamed and seamless textures for the project. Although I did not make every texture we used. Most were created by layering photos/other textures and colours in order to create what we needed for our game.

Here are some textures that I created:

dingy_grass_texturefloor matgrass_texturepaperlamp_Orangpaperlamp_Red

paperlamp_Yellowredwoodwood floorbrick_pavement_0100_02_tiledricepaper

Audio [SFX/BGM]

As audio is my forte, it was only natural that the sound effects [sfx] and background music [bgm] were assigned to me. Unfortunately, I was unable to get the sound recorder, so I had to work with sounds I already had in my hard-drives.


The footsteps folder contained 16 singular files each containing one footstep sound. In my previous project we had a script which randomly accessed a footstep per X distance traveled. However, by the time we got a copy of this script we had no time to iron out the bugs, and thus had to drop it altogether. A real shame.

The SFX files were all short sound effects which were used as sounds for things such as pickups. These sounds were pitch-shifted/modified common sounds (Such as keys dropping) in order to make unique and interesting sounds for the futuristic technology used by our protagonist.

the BGM is a track called “Life is Good” by Blue Fox Music. A Royalty free song which can (and has been, by myself) bought off their website. For a singular fee the music can be used in projects such as these with no fee to be paid to the artist beyond initial payment. Actions like these are very strategic for small/indie developers starting in the games industry.

Despite having a lot of pride in some of my 2D work for this project, overall I feel that I could have done more for my team, but due to personal circumstances and a lack of clear communication there was a lot of work that was left incomplete. I feel like I should have picked up more slack after one of our team members left in the first few weeks of the project. We had high ambitions and effectively 2.7 people to try and accomplish them.My attendance being low and travel times high made it difficult to converse with my teammates in person, and that simple thing makes group projects so much easier.

I feel with my lack of attendance, the role of producer was filled by everyone at some point in the project, depending on what was required at that point in time (2D/3D/Scripting etc). I fell into a role of being the 2D artist with the responsibility of managing the Trello board and calculating dates. Although communication on the Trello board from the other team members seamed scarce despite my efforts.

Next time, I hope circumstances are not quite as dire, and my whole team including myself can dedicate ourselves to creating the entirety of what we envisioned for the project.

Eastern dragon Concept: “Noodle”

As part of the vertical slice I am working on, I designed a eastern “noodle” styled dragon for our eastern environment.

His main colour was red, as this is the main colour of our game to represent significance.

Initial Concept:


Final Concept: