What was on the table for this week for the Ley Lines artist team? We revisited six of our stronger - but rough - design concepts, began to refine them, and began some more color exploration. For this stage, we had to pay more mind to the angular shape language present in Lara Croft Go and push it even further so we could get more eye-catching designs for this go around. One of our earlier tasks was to study Lara Croft Go and Moebius' shape language.
In those studies, we broke down monsters and environments into basic, geometric shapes. We kept this detail in mind while striving for a more angular and simplified look to our characters, while maintaining characteristics of the typical Moebius' anatomical proportions (
that just means: lots of leg).
Similar principles were applied to each of our monster designs, as shown below:
We were able to explore those principles with the environment design as well, while keeping in mind a color palette that would enable our human & monster characters to pop against it with their saturated color palettes.
We've also added color to the bows!
Here are some concepts of decal symbols for the warp portal ability.
Color is something we have paid particular attention to! We want the environment to help both the humans' and Shellek's colors to stand out. We have begun to closely look at our color palettes and see if they currently mix together well. The more we can iterate on this - along with every other step in this process - the more we can improve and the more successful we can be as an art team.
Last week, we showed some concepts of potential visual effects! Our Technical Artist, Ashley, has been hard at work making some first-passes at particle and light effects the player may see during their exploration of the temple.
Another vital visual detail we're striving for is recreating the crosshatched values present in the art of Moebius. Our Art Manager, Andy, has already crafted some first passes at this.
Along with this, he's developing tools for us to try out different color compositions in-engine.
And this tool would help out both artists and producers alike! Tasks that we would repeatedly have to do in Maya, export, and re-import a few dozen times is made easy through this spline-based procedural level tool.
It's important for everything to look good in-engine when we finally get down to making 3D models for Ley Lines. So, we also aimed to get a proxy character modeled and placed in the UE4 engine very early on, just to see if it looked good, functioned well, and was at a decent scale. This model is currently six feet tall and measures pretty well against every other filler character UE4 had to offer us!
As shown in our previous post ... we have already been exploring some animations! These in particular are exploring the potential cultural aspects of Vala's character to influence her movements and personality even more.
Aaaand finally ... we have begun the animation design document as well and that will be finalized very soon. That can be seen right here: [ Animation Design ]
Here's some potential iconography.