Crafting the visual identity of a new game project is an exciting process that combines creativity, collaboration, culture, and storytelling. Each project begins with setting out a comprehensive vision with the game leadership, where I explore the core themes, moods, and aesthetics that will define the experience. I then work closely with the dedicated team of artists and designers, who add their own expertise to help flesh out this vision, and will ultimately bring it all to life.
If we’re working with an original IP, we have the creative freedom to establish a fresh vision, mood, and tone from the ground up. On the other hand, with a licensed IP, our direction needs to align with the established aesthetics, narratives, and brand guidelines of that IP. Additionally, I need to be aware of our game’s goals in the marketplace, requiring a study of competitive products to ensure our vision resonates in the broader gaming landscape, irrespective of the type of IP.
Below is a compilation of examples of my art direction from various past projects.
CONCEPT
I will then, depending on the type of game, dive into a research phase. For original IPs, it could involve looking into various novel art styles, current pop culture trends, historical periods, and real-world environments to gather inspiration for a unique and distinct visual direction. When dealing with licensed IPs, my research is more focused. I need to study the source material in-depth, be it movies, books, or other games, to ensure our game’s visuals are true to the original while bringing something fresh to the table.
The end of this phase will result in a more detailed Art Brief that can then inform the team’s concept artists, allowing them to help flesh out visual representations of the game’s world, characters, and objects. I will usually also contribute concept work myself throughout this process.
COMMUNICATION
Effective communication is crucial for an art director and must ensure that all art team members are aligned with the vision and that they understand the nuances of the visual style we’re aiming for. I will put together a detailed ADD/Art Bible for the project than anyone on the team can reference.
I also maintain open channels with stakeholders outside the art department, ensuring that our vision aligns with broader game objectives. For licensed IPs, the challenge is to interpret the existing world and characters in a way that fits the game’s mechanics and story while respecting the essence of the original design.
To share the art team’s successes with the rest of the team and/or company, I like to broadcast progress by means of a internal web page, or a gallery slack channel which everyone can view. This can also take the form of newsletter like email updates, or Basecamp alerts, but whatever makes sense for the communication of that specific team.
Every studio also has its own preferred tools for team communications, and certainly collaborative software changes over time so I am not tied to any one suite. Currently I tend to use Slack and Miro and Teams to communicate with the team.
Below are some examples of Miro mood boards and other media I have assembled for past projects.
CRITIQUE
I try to provide descriptive verbal and/or visual feedback to artists on a daily basis by means of paintovers, found examples, text breakdowns, and stand-up meetings. The goal is to emphasize consistency and quality. Collaborating with other departments, especially the tech team, is also vital to ensure our ideas and assets are optimized and function well within the game engine.
Below are some examples of types of feedback I have given on various projects.
PROTOTYPES & TESTING
To validate and test visual styles or specific art elements, I oversee the creation of prototypes. This helps us visualize how particular artistic concepts function within our game’s engine and gameplay.
Sometimes we do A/B market testing to get a sense of how various demographics might react to the visuals design, or how the engine performance might be affected.
Often in game prototyping there is also close collaboration between the art and programming teams in order to create an early asset pipeline, and to quickly hammer out visual features using specific use cases. A lot of “how are we going to do that?” questions get answered through quick problem solving. I am comfortable working closely with engineers and tools scripters in this way.
PRODUCTION
As the project progresses into full production, I supervise various art teams, and work with the leads, from environment artists and character artists to animators, VFX artists, and UI/UX designers. My role is to ensure that all artwork aligns with the established art style and vision we’ve set.
In my career I have often worked closely with an art producer on staff who tracks the tasks and schedules for the team, although on smaller teams I have also handled the tracking myself.
In the project’s final stages, I focus on ensuring all visuals are polished, refined, and optimized. I guide my team in adding those finishing touches that elevate our game’s visual appeal.
MARKETING
While not possible on every project, I’m also usually involved in creating or overseeing the production of promotional materials, like game trailers, cover art, or marketing images, to ensure they capture the essence of the game.
