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Video game art

From Wikipedia, the free encyclopedia

Video game art is a specialized form of computer art employing video games as the artistic medium. Video game art often involves the use of patched or modified video games or the repurposing of existing games or game structures, however it relies on a broader range of artistic techniques and outcomes than artistic modification and it may also include painting, sculpture, appropriation, in-game intervention and performance, sampling, etc.[1][2][citation needed] It may also include the creation of art games either from scratch or by modifying existing games. Notable examples of video game art include Cory Arcangel's "Super Mario Clouds" and "I Shot Andy Warhol,"[3] Joseph Delappe's projects including "Dead in Iraq" and the "Salt Satyagraha Online: Gandhi's March to Dandi in Second Life,"[4][5] the 2004-2005 Rhizome Commissions "relating to the theme of games,"[6] Paolo Pedercini's Molleindustria games such as "Unmanned" and "Every Day the Same Dream", and Ian Bogost's "Cowclicker."

Artistic modifications are frequently made possible through the use of level editors, though other techniques exist. Some artists make use of machinima applications to produce non-interactive animated artworks, however artistic modification is not synonymous with machinima as these form only a small proportion of artistic modifications.[citation needed] Machinima is distinct from art mods as it relies on different tools, though there are many similarities with some art mods.[citation needed]

Like video games, artistic game modifications are often interactive and may allow for single-player or multiplayer experience. Multiplayer works make use of networked environments to develop new kinds of interaction and collaborative art production.

YouTube Encyclopedic

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  • ✪ How to Sketch Game Assets
  • ✪ Animation and Game Art Design
  • ✪ Are Video Games The Ultimate Art Form?
  • ✪ Game Art & Animation - Madison Media Institute
  • ✪ So You Want to be a CONCEPT ARTIST?


In this video, you will learn how to create game assets using a sketch-like process. There are 2 approaches a game artist can take to build assets or slap down ideas on the canvas: drawing contours and painting shapes. Both are valid methods that can lead to the same results. Picking either one is a matter of taste. Someone who sketches with a pen will feel comfortable sketching on the computer. A painter will probably feel more efficient painting. You can also choose to use both! Anyway, today, we are only speaking of the sketch approach. Before we talk about drawing, let’s talk about graphic tablets. To sketch on the computer, you want to be using a pen or graphic tablet. For starters, a graphic tablet enables you to hand draw images on the computer in a similar way to drawing with pen and paper. There are tablets that you can place flat down on your desk, like this Intuos4. And there are expensive screen tablets that you can directly draw on. I have a 13” cintiq myself right here. If you have never owned a tablet before, you should start with a cheap Wacom bamboo or Intuos. Pick one with an A5 drawing surface at least. In my experience, screen tablets are only worth the investment if you draw a lot. If you paint digitally instead, you will likely be better off with a regular, cheaper tablet. If you can’t afford a tablet or you want to create game assets using your mouse, it is still possible! However, it is hard to draw with a mouse. You will be better off using a vector software like Illustrator or Inkscape. Let us make a cute character as a game asset example. The first step is to establish the pose and proportions of our character. We can start using a big brush size to prevent us from getting caught up with the details. I start with a curve that represents the spine and vertical flow of the character’s pose. The character’s head, chest and center of mass will most of the time be placed along that curve. You can also start with the head if it works better for you After that, I often add the axes that represent the orientation of the shoulders and of the pelvis. You can draw from that idea and establish the broad orientation of all limbs using a simple curve. That way, you can focus on establishing the pose and balance of your character. It is also fast to do, so you can quickly experiment with many poses! The next step is to add the big shapes and to define the size of your character’s limbs. I will come back to proportions in future videos, as they can vary a lot from realistic human beings to mobile game characters. Here, I’m going for a multiplatform browser type of game. I want to focus the player’s attention on the character’s upper body. I’m giving it a prominent head, and I exaggerate its torso and belly to give it more weight. Now that we have nailed down the structure of our character, we want to plot its main features. We want to detail its facial features, its clothing, its hair… still with loose and light strokes. Once we roughed out the whole drawing, we can start inking our character. Inking is the process of taking the rough sketch, and drawing over it in order to produce clean lines. Inking is not a passive job though. We are not supposed to only draw over the initial sketch. We are supposed to reinforce the design of the character with our strokes. Actually, in the comic book or animation industry, this is a job in itself. In game art, we generally want to draw each limb on individual layers as closed shapes to make it easier to fill later. That is what I am doing at the moment with this little astronaut. The idea is that the strokes you put on the canvas actually bear meaning: a thick stroke reinforces a certain area of your drawing. For example, you can emphasize your character’s head using a thicker stroke. The curvature of your lines also matter: flat lines tend to convey a sense of steadiness and solidity. Curves, on the other hand, create a sense of flow or movement. But I will come back to those concepts in future tutorials dedicated to drawing. For now, we are just going to focus on creating clean, closed shapes. We simply go over our initial sketch one limb after the other. And don’t be afraid to redo your strokes multiple times! We cannot always get them right at the first trial. Once we have our character’s outline, we can use it to fill in our character’s shapes. In Photoshop, we cannot use the fill tool to fill our shapes in a clean way. To fill the shapes, I use the Magic wand tool, which you can access using the W Key. I then expand the selection and fill it using the alt delete key combination. This is a shortcut to fill the selection with the foreground color. To make the filling process faster, I have made a simple action that expands and fills a selection for me. All we have left is to repeat the process until all shapes are filled. Sometimes, it is not enough to expand the fill. This can leave some visible gaps in our layer! In those cases, we have to fill the area using the brush tool. We have one last step to tackle: shading the character. To do so easily, I lock the alpha of all layers. I then simply pick the basic round brush. Then, I select a shadow color using the color picker. And I paint each limb one by one until the whole character is shaded. Sometimes, I also use clipping masks to add gradients or details that deserve their own layer. Overall, you can see that the process is relatively straightforward: you are supposed to draw like you would draw on paper. This means at least 2 things: For one, I recommend that you don’t zoom on your canvas, even if you have trouble drawing precise lines at first. You never want to get caught focusing a single area or on useless details until you nailed the big picture. Secondly, you are generally going to redraw your assets multiple times. Even professional animators and comic book artists or game artists draw in multiple passes. They start with many rough drawings that they ink much later. A quick tip with sketching in general: you have to keep in mind that you draw using a whole chain of muscles, from your forearm to your chest. When you start drawing, those muscles need about 15 to 30 minutes to warm up. During that phase, your line quality will certainly be relatively bad! Or at least under your capacities. So keep drawing! That’s it for this video! If you liked it and want to see more, you can become one my channel’s subscribers! And don’t hesitate become a follower as well on social networks! ♥ Thank you for watching… ♥




Machinima is the use of real-time three-dimensional (3-D) graphics rendering engines to generate computer animation. The term also refers to works that incorporate this animation technique.

In-game intervention and performance

Artists may intervene in online games in a non-play manner, often disrupting games in progress in order to challenge or expose underlying conventions and functions of game play. Examples of this include Anne Marie Schleiner's Velvet-Strike (a project designed to allow players of realistic first person shooter games to use anti-war graffiti within the game to make an artistic statement[7]) and Dead in Iraq (an art project created by Joseph DeLappe in which the player character purposely allows himself to be shot and then recites the names of US soldiers who have died in the Iraq War[8]).

Site-specific installations and site-relative mods

Site-specific installations and site-relative gaming modifications ("mods"), replicate real-world places (often the art gallery in which they are displayed) to explore similarities and differences between real and virtual worlds. An example is What It Is Without the Hand That Wields It, where blood from kills in Counterstrike manifests and spills into a real life gallery.[9]

Real-time performance instruments

Video games can be incorporated into live audio and visual performance using a variety of instruments and computers such as keyboards embedded with music chips.[citation needed] See also chiptune and the Fijuu project.[10]

Generative art mods

Generative art mods exploit the real-time capabilities of game technologies to produce ever-renewing autonomous artworks.[citation needed] Examples include Julian Oliver's ioq3apaint, a generative painting system that uses the actions of software agents in combat to drive the painting process,[11][12] Alison Mealy's UnrealArt which takes the movements of game entities and uses them to control a drawing process in an external program,[13][14] Kent Sheely's "Cities in Flux," a Grand Theft Auto: San Andreas mod that glitches and distorts the game's world in real-time,[15] and RetroYou's R/C Racer a modification of the graphic elements of a racing game which results in rich fields of colour and shape.[16][17]

See also


  1. ^ John., Sharp, (2016-01-01). Works of Game. The MIT Press. ISBN 9780262029070. OCLC 936302522.
  2. ^ Andy,, Clarke,; Grethe,, Mitchell, (2013-01-01). Videogames and Art. Intellect. ISBN 9781841504193. OCLC 876434897.
  3. ^ Andy Clarke and Grethe Mitchell (eds.),Videogames and Art (Intellect Books, 2006).
  4. ^ Mail Away: War Correspondence at Home and Away, by Lindsay Kelley, in the Media-N Journal of the New Media Caucus "Archived copy". Archived from the original on May 18, 2013. Retrieved March 10, 2013.CS1 maint: Archived copy as title (link)
  5. ^ The Salt Satyahgraha by Joseph Delappe - review by Natasha Chuk, in Furtherfield
  6. ^ Rhizome Commissions
  7. ^ "Velvet-Strike". Retrieved 2014-03-07.
  8. ^ "Archived copy". Archived from the original on December 6, 2006. Retrieved December 5, 2006.CS1 maint: Archived copy as title (link)
  9. ^ 8/23/06 4:15pm 8/23/06 4:15pm. "People Actually Lamer Than Stuart Scott Rip On Stuart Scott". Retrieved 2014-03-07.
  10. ^ "Archived copy". Archived from the original on October 17, 2007. Retrieved December 5, 2007.CS1 maint: Archived copy as title (link)
  11. ^ Oliver, Julian. "Julian Oliver". Julian Oliver. Retrieved 2014-03-07.
  12. ^ [1] Archived May 12, 2008, at the Wayback Machine
  13. ^ 風紀委員 posted by on 2014年2月20日. "色々な風俗がありますが全部が魅力的すぎます". Retrieved 2014-03-07.
  14. ^ "will be back online soon". Unreal Art. 2014-01-16. Retrieved 2014-03-07.
  15. ^ "Viewer-generated screenshots: "Cities in Flux" – D-Pad Toronto 2012 // kent sheely". Retrieved 2014-03-07.
  16. ^ "full void". Retrieved 2014-03-07.
  17. ^ [2] Archived June 11, 2007, at the Wayback Machine


External links

This page was last edited on 13 June 2018, at 09:09
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