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Beginning Illustration and Storyboarding for Games (Premier Press Game Development) PDF

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This page intentionally left blank Beginning Illustration and Storyboarding for Games Les Pardew © 2005 by Thomson Course Technology PTR. All rights reserved. No SVP, Thomson Course part of this book may be reproduced or transmitted in any form or by Technology PTR: any means, electronic or mechanical, including photocopying, record- Andy Shafran ing, or by any information storage or retrieval system without written Publisher: permission from Thomson Course Technology PTR, except for the Stacy L. Hiquet inclusion of brief quotations in a review. Senior Marketing Manager: The Premier Press and Thomson Course Technology PTR logos and Sarah O’Donnell related trade dress are trademarks of Thomson Course Technology PTR and may not be used without written permission. Marketing Manager: Heather Hurley Corel, CorelDR AW, CorelPHOTO-PAINT, and Corel Painter are trademarks or registered trademarks of Corel Corporation or Corel Manager of Editorial Services: Corporation Limited. All other trademarks are the property of their Heather Talbot respective owners. Acquisitions Editor: Important: Thomson Course Technology PTR cannot provide software Mitzi Koontz support. Please contact the appropriate software manufacturer’s techni- Senior Editor: cal support line or Web site for assistance. Mark Garvey Thomson Course Technology PTR and the author have attempted through- Associate Marketing Managers: out this book to distinguish proprietary trademarks from descriptive terms Kristin Eisenzopf and by following the capitalization style used by the manufacturer. Sarah Dubois Information contained in this book has been obtained by Thomson Project Editor/Copy Editor: Course Technology PTR from sources believed to be reliable. However, Cathleen D. Snyder because of the possibility of human or mechanical error by our sources, Thomson Course Technology PTR, or others, the Publisher does not Course Technology PTR guarantee the accuracy, adequacy, or completeness of any information Market Coordinator: and is not responsible for any errors or omissions or the results obtained Elizabeth Furbish from use of such information. Readers should be particularly aware of the fact that the Internet is an ever-changing entity. Some facts may Interior Layout Tech: have changed since this book went to press. Scribe Tribe Educational facilities, companies, and organizations interested in Cover Designer: multiple copies or licensing of this book should contact the publisher Mike Tanamachi for quantity discount information. Training manuals, CD-ROMs, and CD-ROM Producer: portions of this book are also available individually or can be tailored Brandon Penticuff for specifi c needs. Indexer: ISBN: 1-59200-495-4 Sharon Shock Library of Congress Catalog Card Number: 2004108016 Printed in the United States of America Proofreader: 04 05 06 07 08 BH 10 9 8 7 6 5 4 3 2 1 Kim V. Benbow Thomson Course Technology PTR, a division of Thomson Course Technology 25 Thomson Place Boston, MA 02210 http://www.courseptr.com To all the art teachers and mentors I have had over the years, I dedicate this book. I have learned from many, some of whom don’t even know that they were my instructors. Those who have spent time working with me to develop my artistic talents are and always will be great in my eyes. I also dedicate this book to all the young artists who will make a difference in the time to come. May you always have faith in your work and love for art. I pray God’s blessing on each of you. Acknowledgments T his book has been an effort of much work, and I thank all those who have helped. Especially, I thank my wife, Kim, for her unfailing faith in her artist husband, and my children, for the time that they let me have to write. I thank my parents, who have always believed in me. I also thank my editor, who has had to put up with an artist’s writing ability. I also thank the many artists and friends who have contributed to the book. I appreciate the contributions in artwork, encouragement, and knowledge. vi About the Author I n 1987, Les Pardew started his career by creating the animation for Magic Johnson Fast Break Basketball on the Commodore 64. He soon found that he loved working on games and has been in the industry ever since. His work encompasses more than 100 video game titles, including some major titles such as Super Star Wars, NCAA Basketball, Starcraft: Brood War, James Bond 007, Robin Hood: Prince of Thieves, and CyberTiger. He currently serves as President of Alpine Studios, which he founded with Ross Wolfl ey in the fall of 2000. Alpine Studios is a game development company focusing on family-friendly games. Alpine Studios’ products include Kublox, Combat Medic, Motocross Mania 2, and Ford Truck Mania. Les is also the author of Game Art for Teens. vii Contents Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .xv Chapter 1 Basic Game Design Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 Art Used in Game Designs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 Game Layout Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 Storyboards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 Level Layouts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 Environment Illustrations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 Character Designs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 Model Sheets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 Graphical User Interface Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 Other Concept Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13 Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13 Answers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 Discussion Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15 Chapter 2 Creating Game Layout Charts . . . . . . . . . . . . . . . . . . . . . . . .17 Designing the Style of the Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 Building the Game Layout Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 viii Building the Second Page of the Game Layout Chart . . . . . . . . . . . . . . . . .26 Contents ix Other Types of Level Designs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31 Charting Complex Games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36 Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37 Answers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37 Discussion Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38 Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38 Chapter 3 The Thumbnail Sketch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39 Drawing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39 The Paper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 The Pencil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41 Drawing Technique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42 Pencil Strokes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Creating the Thumbnail Sketch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Character Thumbnails . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Design Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51 Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52 Answers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52 Discussion Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53 Exercises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53 Chapter 4 The Storyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55 Creating Games Takes Time and Money . . . . . . . . . . . . . . . . . . . . . . . . . . . .55 Games Can Be Diffi cult to Explain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56 Storyboarding Helps with Communication . . . . . . . . . . . . . . . . . . . . . . . . .56 Storyboarding Aids in Problem Solving . . . . . . . . . . . . . . . . . . . . . . . . . . . .57 What Are Storyboards Used for in Games? . . . . . . . . . . . . . . . . . . . . . . . . .57 Cinematic Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57 Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58 Complexity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58 Non-Player Actions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59

Description:
Creating enticing game art can mean the difference between getting a game published or rejected. This book is ideal for many, including beginning art students who wish to learn the fundamental techniques used in creating concept art for game design and artists looking for a new challenge. Readers wi
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