#art director | Explore Tumblr Posts and Blogs

imaginal-ai · 3 days

Text

"Fresh Face" (0003)

(More of The Fresh Face Series)

0002

0001

#ai artwork #ai men #ai generated #ai art community #ai gay #ai fashion #fashion illustration #gay ai art #black male beauty #black male body #black male model #it boy #art direction #art director #beauty illustration #male pinup #homoerotic #calendar worthy #bleached blond

20 notes · View notes

allisonperryart · 5 months

Text

The trailer for the show I art directed on, Carol & the End of the World, is here - can't wait for y'all to finally see our girl in motion!! 🤩 Hope you love Carol and her world as much as I do when the show comes out 12/15 - seriously, this one's going to be special!! 🥰

youtube

289 notes · View notes

maxwellatoms · 3 months

Text

The art team had to create a lot of diagetic artworks to fill out the world in Naked Mole Rat Gets Dressed. I ended up doing a lot of the posters and propoganda artwork you see around the city, as well as all (I think?) of the signs for the shops. This was probably my favorite billboard, which probably appears briefly in some long-shot. As an Art Director, you get precious few chances to make jokes...

#maxwell atoms #art director #naked mole rat #jokes

178 notes · View notes

elderscrollsconceptart · 1 month

Text

There is a massive black hole in terms of credited TES art and its almost everything done by Matthew Carofano.

He's basically been an artist/art director for Bethesda for 20+ years and yet we have almost no public works which are credited to him exclusively.

Even if its just sketches, ideas, corrections etc., there must be a massive trove of his contributions from over the years which remains unpublished.

Its likely in his personal archive or in Bethesda's, and it aches just thinking how there's a chance it'll never see the light of day.

I know part of his job is overseeing other artists and general artistic direction for the games, and maybe he doesn't want to take credit for the work of the artists he's been in charge of, but it still baffles me that Bethesda hasn't published even a sampler of his work so the fandom can appreciate how much he's done.

Bethesda, he deserves the praise! Please let us see more of what Matt has done for your games!

#art #the elder scrolls #concept art #tes #matt carofano #matthew carofano #art credit #artisic credit #zenimax #art director #art direction

105 notes · View notes

ridd-esart8 · 5 months

Text

Cho gi-seok { Birth to Death }

makeup_ ohseongseok

hair stylist_ gabe.sin

style director_ Jang heejun

All by _ cho gi-seok

#fashion #photography #cho gi seok #hairstyle #art director #set #flim #photo #photoshoot #maleup #makeup artist #inspiration #inspo #director #visual art #nail art #colorful accents #vision board #silkvoid

180 notes · View notes

gabbyp09 · 25 days

Text

52 notes · View notes

shelandsorcery · 3 months

Text

Astronomics Game Art : Designing Mining Equipment!

Gonna talk this week about designing mining equipment for the sci-fi game Astronomics - demo on steam right now! - And I thought I'd start with a little conversation about research and process (...that doesn't really have on a much art in it but just stay with me) and maybe get to tap in a little bit into how someone like me who doesn't do a lot of technical design learned a lot about how to get excited about that whole field through the research stage of this game.

So when I say research I really do mean fairly old-school research — and this is probably gonna be a theme with a lot of the posts about this game in particular, because I don't think you can build sci-fi without some understanding of engineering systems and current scientific realities to then play with, you know?

As you may gather from the trailer, Astronomics is a game about asteroid mining, among other things. Which meant that we had a lot of need for legit industrial feeling props and tools for the player to use, things that felt functional and believable without feeling complicated or delicate. I really enjoy the challenge of adding appeal to something that maybe people don't always think about being appealing or fun or cute (this is never an absolute statement — there's always somebody already able to see more appeal in any given subject and I could ever imagine) so part of the research stage is going and looking for that appeal. So above you can see a sheet of loose rough sketches I did in clip studio paint from reference that I gathered with the rest of the team and by myself that seemed relevant to some of the designs we were pursuing.

If you've had the chance to play the demo, you'll know that it's not just surface mining but we are going to be letting you mind gases and liquids and underground mineral veins as well — these are all things that people do in the real world of course, so process one was taking a quick look at those actual industries and then figuring out how I could condense that activity down into a pretty simple and easy to understand machine.

So turned out what we needed was something that drilled and dug, something that pumped liquids, something that sucked air, and all of these things needed to then produce some sort of container to hold what they had collected.

In a videogame you really need to communicate to the player why each act they do is significant and different from the others, and as the art director it was my job to figure how to do that through visual design of the tools they're going to be using. So that meant that even though you could certainly store liquid and gas and solid resources in the same kind of box, I wanted to try and find ways to keep each thing feeling different. Best case scenario is that you're able to look at a prop we've designed and know in a split second which of these three states of matter it will be containing; in the research stage one of the things I'm looking for is any existing visual language that we have (in this Western English-speaking North American videogame audience culture) that already solves this problem.

The great thing about industrial design is that they indeed have very intentionally tackled this problem. Part of it is purely physics optimization that the field of engineering has been working towards for human history. For example, when you're storing liquid and you want to remove all of it from a container you probably don't want something with corners — that's how you end up with cylindrical liquid storage. When you're storing a gas you're likely keeping it under pressure, which means you need a shape that will withstand pressure evenly, which means you're looking for something with literally no corners or edges ideally — and that's how you end up with bubble-shaped gas storage like a propane canister. And then when you're storing something solid and you want to use the space most efficiently and be able to stack whatever it is that you have packed it into, you have a box.

Real good news is, a box and a cylinder and a sphere are all wonderfully visually distinct shapes in a fantastically strong place to start when it comes to solving the question of storage. So then we get into the challenge of the machines themselves — what distinguishes a drill from a pump from a vacuum?

So that's the beginning of some of the questions that you have to answer when you're designing props for a game — in the research stage is only one of bunch of different ways you start figuring out these answers. But I want to talk for just a second a little bit about how I personally wrangle my research, because I am definitely not telling you this is the only way to do it. It seems like it may be worth explaining what I get out of this process and see if anything here make sense for you!

One of the reasons that I have this huge page of sketches, big and detailed or tiny and loose, all laid out in one place for me to look at, is because I personally learn and remember things more strongly by taking notes. With my hand holding a pencil ideally. And when they're abstract concepts or verbal or numerical then I'll use writing and I won't have a problem with it, but my job at this stage was not to figure out abstract concepts or to find themes — my job was to solve visual problems. So my first order of business was visual research specifically. Now for me, that involves lots of things — I have a Pinterest board for any sort of subcategory of stuff I'm researching to just do enormous broad research with; then I probably bring most of those images into a huge working .PSD file and move them around to create groupings. And then I start drawing.

I really think that drawing is integral for me at this stage. I don't think I could do this without drawing as part of my research. There's so much that I just don't bother noticing if I'm not going to be drawing the thing that I'm looking at; even the worst, fastest, sketchy as drawing makes me pay infinitely more attention to something then I do when I am simply collecting information mentally. I'm phrasing this in a somewhat exaggerated, self-deprecating way, but I really can't exaggerate how much more I get out of things when I sit down and draw them. They talk about drawing is a way of seeing, and for me that's a practice I've intentionally pushed and explored in my life.

The other thing, though, is that visual problem that I need to solve. Sometimes solutions to the problem aren't obvious until they are visualized — it can be very easy to get distracted by things like surface details and miss the silhouette language, or vice versa, but when you are doing the drawing you have to wrestle with the silhouette and the details and make decisions about them. Visual trends appear way more clear when you are drawing something for the 10th time as opposed to simply seeing it for the 10th time. And all of the layers of cultural meaning and context that clutter up a photograph can be simply ignored as you transfer only what you need to a drawing, where you might discover something that everything else hid until then. Beyond that, one of the things you may notice about the sketches is that they are somewhat cartoony — I'm certainly trying to capture important details and be representational to a degree, but much like gesture drawing the human figure, researching this way lets me start finding out what the gestures are of these different sorts of subject matter. This is something that I knew about creature design, and about flora design, and one of the real joys of this game in particular was proving to myself that this gesture approach applied to industrial machines and technology as well.

I mean, I knew that there were cute trucks out there, but gosh.

I think if you are in need of something to reinvigorate a particular piece of subject matter for you — if you're designing something that you are just not that excited about, or if you don't feel challenged by the work in front of you — I really think sitting and sketching from reference can open up the complexities and help push you and your work farther. It certainly works for me and I know that the learning I did on this game is something I carry with me to future projects as well.

That seems like a pretty strong place to leave this post in particular, but I'll be back later this week with more breakdowns and screen caps of the actual design process of all of our adorable mining equipment!

I would really love to hear from folks if you also engage in similar research processes before going into full design mode — or if you have a completely different way to get your mind revved up and ready to go, I would really enjoy reading about it!

In the meantime, if you're curious about mining asteroids but it's cute please feel free to check out the Astronomics demo on steam, I made an awful lot of visdev art for this and handed it off to some incredible game creators who have done some really impressive stuff taking their ideas and my ideas and running to honestly some pretty new and exciting places with them.

#video games #indie games #art director #behind the scenes #concept art process #designing games #drawing #trucks are cute #dictated but not thoroughly reread

34 notes · View notes

neutron669 · 4 months

Text

Metal Gear Solid by Yoji Shinkawa

#Yoji Shinkawa #metal gear solid #art #design #iconic #art director

29 notes · View notes

lejolibeignet · 6 months

Text

Just calm ✨

23 notes · View notes

wormdramafever · 5 months

Text

Goodbye Volcano High character design evolution!

I wanted to preserve Lucie Viatge's fantastic twitter thread about the design evolution of the main cast of Goodbye Volcano High (a game in wich she worked as Art Director and Character Designer), for those that have understandably stopped using that site or in case it finally colapses.

Long post incoming!

(Pic.)

(Pic 1, pic 2, pic 3.)

(Pic 1, Pic 2 likely from Wikimedia Commons Parasaurolophus gallery and originally made by Steveoc86)

(Pic.)

(Pic 1, Pic 2, Pic 3.)

(Video.)

(Pic 1, Pic 2, Pic 3, Pic 4.)

(Pic.)

(Pic 1, Pic 2, Pic 3, Pic 4.)

(Pic.)

(Pic 1, Pic 2.)

(Pic 1, Pic 2, Pic 3, Pic 4.)

(Pic 1, Pic 2, Pic 3.)

(Pic 1, Pic 2.)

(Pic.)

(Pic 1, Pic 2, Pic 3).

(Pic 1, Pic 2, Pic 3, Pic 4.)

If you like what you see, consider going to the original twitter thread and giving it likes and retweets. You can also find more production art of the game on her website!

29 notes · View notes

rockinracket · 3 months

Text

It's Kind of Like...Oh, You Know!

Stepping up as Art Director when you’ve never Directed Art

By Gwen Hall - Art Director of Rockin' Racket (2023)

What's in an art style? That which we call a raccoon by any other name would look just as sweet – or so I thought, working alongside three other artists with Pop Punk Paws Productions, LLC to create Rockin’ Racket, an angst-filled, story-driven, band-management simulator (releasing this Spring, 2024! Shameless plug). As Rockin’ Racket was conceived just last September, we’ve seen the game grow from more than just humble beginnings. The project was born from a pair of designers – me, a writer and artist, and my coworker, a sound designer semi-proficient in Unity – with no other people to worry about onboarding.

Starting strong with no thought of onboarding and the assumption that we would both jump ship, our duo scuffled through months of troubled time management and lacking project production. However, these things started to patch themselves up as we pushed through our first round of pitches presenting to fellow game designers, Indiana University faculty, and industry professionals: representatives from Herringbone Games, Freehold Games, and Mommy's Best Games. Things were looking up for Rockin’ Racket…aside from the fact that we were now looking at an additional year and a half of content creation. For a larger team with a more coordinated game plan – pun intended - less of a problem. For our team? We swiftly fell back into the weeds; back to the drawing board, I went.

2023 has been a time of development for the art team, especially in the Art Bible and Style Guide department. I grew up during the Renaissance of “Art Instagram” and Tumblr networking, where art style was EVERYTHING. Creating a set of rules for a style entirely fabricated for a game – for other people to copy, at that – was a large and exciting task. It also meant defining what I mean when I say, “2007 Fall Out Boy meets Scott Pilgrim if Scott Pilgrim was Lemonade Mouth, and also the board game Root”.

That's what our game looks like, duh. Isn't the image so profoundly clear? Of course, these things are not actual rules. During the first pass of concept art and asset production, not even I knew what *that* looked like, and it existed in my mind! Putting my nose to the grindstone, how do I define what something looks like with hard and fast rules when visuals aren't enough? What does “soft” mean? What differentiates “textured” from “grungy” from “nasty”? For the love of all things, what brush do you use???

Working alongside the Pop Punk Paws Prod. Art Roadies (isn't that a cute team nickname), I realized a few things that would help us along the way.

Reference, Reference, Reference! Whether something is based on fantasy or reality, there are rules to how it moves. Create references for the rules of the world so we don't have anthro nudists on accident. “Don’t”s are just as helpful as “Do”s, if not moreso.

The best designers steal – I mean, take inspiration – from things they love. New things are an amalgamation of old things, making them a collage of ideas. Keep those ideas pinned somewhere safe! If not “official references”, at the very least they'll keep a team on track for the final look. Is the art channeling “2007 Fall Out Boy” yet?

Communication is key, and what better way to communicate with artists than in a visual medium?

Paint-overs are never personal. Yes, “fixing” art is controversial because creating is a personal practice. On a project, however, it’s about the unification. It’s the same idea as proofreading; paint-overs help us all improve!

Touching base with non-artist teammates helps keep everyone in the loop, especially the teams who might never touch the art aside from implementing it.

Art Directors make art. When I entered a leadership position, I assumed my primary responsibilities as “Concept Artist” would leave in place of “Creative Director”. That’s not true! If anything, it means more art. That’s a good thing!

Art Directors mean Art Direction! Thoroughness is helpfulness in nearly every case. Deadlines, deliverable lists, critique, technical specifications, and teamwork. One can only get away with so many “bshdbsjd(2).png”’s before we start tripping over each other.

At the moment, I am not an industry veteran (YET!), so take my words with a grain of salt. It is safe to say that these notes may be obvious now, but were not as obvious to me before my experiences on an art-focused team; maybe this will help an eager artist gather their bearings while diving headfirst, onboarding-prep-free, into a project.

Check out Rockin’ Racket on Twitter (X), Instagram, and YouTube to follow our journey of getting our band to stardom!

#indiedev #indiegamedev #indie games #artists on tumblr #digital artist #art direction #art director #gamedev #dev blog #devlog #game development

9 notes · View notes

imaginal-ai · 4 months

Text

"A Hero with Flowers - Part Two"

(Heroes with Flowers Series)

Part One

108 notes · View notes

allisonperryart · 4 months

Text

Interrupting your regularly scheduled Carol art for Carol FANart! I've been itching to share this for awhile, and now I finally can! I just thought Carol looked so adorable in her little office outfit that I wanted to draw her super cute and pastel-core! Thanks for looking, watch Carol and the End of the World on Netflix if you haven't already, and catch the process video later this week!!

175 notes · View notes

happywebdesign · 3 months

Text

Pierre-Ange Aznar

7 notes · View notes

samsantala · 1 year

Note

hi!!! i wanted to ask you what your painting workflow looks like?? i'm trying to learn how to paint and i thought i might as well ask a professional :D

I'm planning on making some tutorials at some point, but I'll say I usually take the following steps

Research

Lots of it, I like getting a lot of ref, even if the shape on an object catches my eye

Initial sketches

I do about 3-6 sketches and try to make at least 1 or 2 very wild in terms of the design, better to push harder earlier than regret not pushing later on

A good way of exploring in this stage is to think of what 'sliders' you might have, like you're making a character in game. What aspects are changeable, how small or big would you their possibly go?

Just try to be open minded at this stage, even design something that you might not like, because I can tell you, sometimes, your own biases mean you create the same thing over and over again.

Refinement sketches

After I have a decent sketch I'll refine it and make 3-4 more variations, generally trying to retain the aspects I liked from the original design whilst exploring other aspects I'm not so keen on.

Colour

Much like with the initial sketches I do 3-6 colour options and really push the options.

For instance, if I'm colouring a dragon, I do the typical reds, greens etc. But what aboiut contrasting yellows and blues, what if it was coloured like a coral reef? I want to see subtle to gaudy.

Turnaround

Turnarounds I rarely do, as they're... dull. but they can be pretty informative to both me and the viewer.

My personal preferences is 3/4 view turnarounds as opposed to orthographic ones because it allows for some creativity whilst allowing 3D artists to put their own slant on it.

But some productions really prefer orthographic

Animation Worksheets

These I've found are the quickest way to sell someone on a design, so express what the creature/characters personality is. What they function as inside a game, how they move etc

I've received praise from animation directors because it can be hard to get a team of people all interpreting a still image differently to be in sync with a design, so if you get time, try to add some animation worksheets

Key Art

Rarely but sometimes I'll then add key art for a piece, this usually involves starting the process over again with new posing and lighting in mind, but now with a more difinitive design.

---

Sorry if that was a bit rambly, but that's often how I approach my designs :) I hope it helps!

#art advice #advice #good advice #art direction #art director #art #artist #2d #concept art #game art #game design #animation

69 notes · View notes

batmanbeyondrocks · 5 months

Text

Credit: Black Hustlers Club@blackhustlersclub via Knight of Abyss@k_o_abyss

#IG #Instagram #Black Hustlers Club@blackhustlersclub #Knight of Abyss@k_o_abyss #Quintin Dorsey #CEO #Jacob Noble #Art Director #Manga #Manga Series #Anime #Fan-Owned Anime #Wefunder

7 notes · View notes