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FOREWORD by Tristan Donovan 8 PREFACE 9 INTRODUCTION 10 LEVEL01 / FUNDAMENTALS 15 Materials 16 Basic Pencil Techniques 18 Basic Perspective 23 Basic Volumes 27 Basic Lighting and Values 29 Visual Measuring Tools 32 Drawing Process 37 LEVEL02 /ADVANCEDDRAWING CONCEPTS 40 Advanced Perspective and Volumes 41 Advanced Lighting and Values 44 Atmospheric Perspective 53 Landscape Drawing 55 LEVEL 03 /THE HUMAN FIGURE 59 Gravity and Movement 60 Proportions 68 LEVEL 05 / ELEMENTSOF DESIGN 145 Frame 146 Camera Angle 152 Scale 158 Grouping 159 Lighting 162 Line 164 Shapes 176 Subverting Conventions 184 LEVEL 06 / CHARACTER DESIGN 188 Good Studio Practice 189 Brainstorming and Character Concept 190 Visual Metaphors 192 Mind-Map, Research, and Mood Board 193 Thumbnail Development 197 Final Character Drawing and Model Sheet 200 LEVEL 07 /ENVIRONMENT DESIGN 203 Character/Environment Shapes 204 Building Construction 208 Character-Centric Environment Design 211 Top-Down Environment Design 216 Gameplay Map 220 Skeletal Landmarks 72 LEVEL 08 /COLOR AND DIGITAL TOOLS 223 LEVEL 04 / ANATOMY 74 Six Stages for Rendering Anatomy 75 The Foot 76 The Leg 84 The Pelvis 91 The Spine and Ribcage 98 The Shoulder Girdle 107 The Arm 114 The Hand 122 The Head and Neck 128 Facial Expressions 142 Color 224 Adding Color with Digital Tools 230 PROFESSIONAL PORTFOLIO AND GETTING WORK 236 BIBLIOGRAPHY 239 INDEX 240 Gears of War 2 7 Copyright © 2012 by Chris Solarski All rights reserved. Published in the United States by Watson-Guptill Publications, an imprint of the Crown Publishing Group, a division of Random House, Inc., New York. www.crownpublishing.com www.watsonguptill.com WATSON-GUPTILL is a registered trademark and the WG and Horse de-signs are trademarks of Random House, Inc. Artwork by Chris Solarski, except as otherwise noted throughout and below: Images from Gears of War® on pages 6, 71, 120, 170, 220, and 221 © Copyright 2006 Epic Games, Inc. used with permission from Epic Games, Inc. Unreal, Unreal Engine, Gears of War and Epic Games are trademarks or registered trademarks of Epic Games, Inc., in the United States of America and elsewhere. All rights reserved. Flower artworks on page 182 © 2008 Sony Computer Entertainment America LLC. Flower is a registered trademark of Sony Computer Enter-tainment LLC. Developed by thatgamecompany. Journey artworks on pages 1, 43, 148, 149, 162, 172, 183, 206, 218–219, and 226 © 2011 Sony Computer Entertainment America LLC. Journey is a registered trademark of Sony Computer Entertainment LLC. Developed by thatgamecompany. Library of Congress Cataloging-in-Publication Data Solarski, Chris. Drawing basics and video game art : classic to cutting-edge art techniques for winning video game design / By Chris Solarski. 1. Computer games — Design. 2. Video games — Design. 3. Art — Tech-nique. I. Title. QA76.76.C672S65 2012 794.8’1536 —dc23 2011046341 ISBN 978-0-8230-9847-7 eISBN 978-0-8230-9848-4 Printed in China Book and cover design by Karla Baker Cover art: Front (clockwise, left to right): Self-Portrait, Frowning by Rembrandt van Rijn; anatomical studies of the leg by Peter Paul Rubens; New Super Mario Bros.; Assassin’s Creed. Back (clockwise, left to right): Gears of War; Little Big Planet; Journey. Spine: Mario. 10 9 8 7 6 5 4 3 2 1 First Edition half-TiTle page Journey TiTle page Detail of The Birth of Venus by Sandro Bot-ticelli, Skeleton with Muscles by Bernhard Siegfred Albinus, Prince of Persia OppOsiTe RAGE i caME to tHE VidEo gaME industRY with a foundation in digi-tal art. after graduating with a degree in computer animation iwas lucky enough to secure work at sony computer Entertainment’s london studio as a 3d environment and character artist. It was at an art workshop organized by ConceptArt.org (a forum that promotes, develops, and showcases concept art for illustra-tion, film, and game production), when I saw artists like Andrew Jones demonstrate the amazing ability to create lifelike charac-ters straight from their imaginations, that I began to question my lack of traditional art training. I saw that it was their mastery of classical art principles that placed them in the enviable position of being first to visualize characters and environments in the development process, for which artists like me would produce 3D models and textures based on their designs. I had a lot of catching up to do if I wanted to be involved in the highest levels of game design. I took part-time painting lessons from the award-winning painter Brendan Kelly while continuing to work in video game development. Brendan taught me about the discipline and dedication to classical art training that is required to become a successful artist in any field. Armed with a solid foundation in classical painting, I aban-doned video game development altogether and spent the next two years on an intense program of self-guided study in Poland, where I attended daily life-drawing sessions at the Warsaw Academy of Fine Art and the atelier of professor Zofia Glazer, simultaneously sharing my experiences and learning from the online figurative drawing community at the Society of Figurative Arts (www.tsofa.com), created by the artist and teacher Michael Mentler. During these two years I developed a deep appreciation for the value of a classical art education and the techniques of the Old Masters. I realized that the majority of video game artists (me included) significantly undervalue these skills. In 2008 I was back in game development as art director at Gbanga (developer of the pioneering location-based gaming platform for mobile phones) and continued to work on figurative drawing and painting. Switzerland’s Arts Council, Pro Helvetia, invited me to give a talk about the connection between classical art and video games at the first Game Culture conference. It was while pre- paring for this lecture that I really saw the connections that I had previously taken for granted between the two disciplines. Video games are a natural progression of classical art, and the same visual grammar and artistic techniques and principles underpin both disciplines. I realized that applying classical art techniques to video game art would enable artists to create more meaning-ful visual and emotional experiences for the video game player. This book is the culmination of the unique experiences and insights I accumulated over the past ten years that have enriched my video game art and enhanced my career. Not everyone is in a position to take a couple of years away from work to study at an art institute. I’ve designed the lessons in this book to be your own personal art school, and my hope is that this knowledge and experience will take your art to new and higher levels. Chris solarski StarCraft II: Wings of Liberty (Artwork courtesy of Blizzard Entertainment) 9 ... - tailieumienphi.vn
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