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Effective Art Directors: Gaming's Something Something
 
 
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Features
  Effective Art Directors: Gaming's Something Something
by Ben Cammarano
4 comments
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November 20, 2008 Article Start Previous Page 3 of 4 Next
 

How many visual targets should be developed? How closely should they be followed? That's up to the EAD to decide, but the common factor should be enough targets to get the idea clearly across.

They use their sensibilities and regularly observe how progress is going. If changes are called for at a point in the cycle, an EAD quickly takes the new concepts and creates a new visual target(s) to re-focus the team's efforts.

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As a group of visual targets are finished, they should be collected into some form of cohesive format, whether it's a style guide, art bible, or organized directory structure of paint-overs, renders, or animations to which everyone can easily refer.

When the trade-offs and limitations of game development rear their ugly heads, the visual targets are used to help prioritize goals, focus resources and create a common starting point for discussions among all the cross-functions.

Games are getting more expensive and complicated to create and the risks are high. Mitigating a lot of that comes through experienced planning around a concise goal, and the visual target is an EAD's weapon of choice.


One of many concepts generated by an EAD and concept team based on ideas during early pre-production.

The game engine is used in this case by the EAD/team during pre-production to evolve the original concept into a visual target by which quality will be measured throughout all areas during the production cycle.

When issues or discussions occur around visuals, the target is used to bring focus and clarity to creative iteration.

Months later, in-game progress shows that while many elements of the original target have changed, its esessence and cohesiveness has remained the same.

Because the development and publishing teams could see the visual target and understand quality vs. trade-offs and risks, more focused support could be placed in the right areas to make sure the rest of the game gets the same level of polish with little randomization to the product.

The aesthetic and graphical quality the EAD wanted from the original target has not only been maintained but surpassed.

 
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Comments

Stephen Dinehart
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This is a fantastic article; bravo Ben! Thanks for sharing. Good art direction and vision are key to creating compelling thematic experiences.

Stephen Panagiotis
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Amazing. Definitely a great read for anyone in a design, art, or even technical position. I certainly came away with some better insight after reading this.

Mark Harris
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Great article. A great art director provides a focus for a game's visual assets and quality targets. It sounds more intuitive than it really is. I'm glad the article goes into some detail on how art directors actually go about providing that focus.

Heinz Schuller
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Good article Ben. I hope you don't take this the wrong way, but it also felt somewhat generalized and idealistic. Another key trait of a great art director is how they problem solve. It's one thing to set a visual target, it's another matter to apply it.

The road from visual prototype to final implementation is fraught with challenge and compromise. What happens when the visual target changes during the project? What types of technical and design limitations can influence and change the course of the vision? How does one keep the vision on track when the publisher gets anxiety over the latest releases every few months?

Personally I'd love to hear some of your war stories about the implementation of the vision, and the challenges and compromises you've had to make along the way. Because while these days most competent art directors & their teams establish a vision through art tests and visual prototype, the truly "effective" ones adapt and overcome the million slings & arrows along the way.


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