Mavdoc
Concept to Flash Implementation
Using the Shallow Sea as an example, here is the progress a level goes through from rough pencil sketches all the way through to a final, traversable environment.
First off through several meetings, we decide on all the elements of the level from what theme we'd like to create, the gameplay flow of an area, and ideas for landmarks, roads or anything else that defines the environment. The level design can change during production, and has a degree of flexibility until we land on a final result.
As you can see in the early concept stages, a grid in the same proportion as the 780 x 505 pixel rooms are used for laying out objects, determining how each room will transition to the next, along with their overall composition. This is an important step. The giant seahorse skeleton that you walk on for example was formed so each section of its body flowed cleanly into the next room, and the spot you transition over to the inside of the shell is located at the center of a room.
Full size
Full size
The pencil concepts then get a color treatment to be used for reference in creating the template geometry and ultimately, the finished 3D models. This level's beautiful painting was done by the artist Jen Zee.
Full size
Once all the final geometry and textures for the area are created, each room is rendered and composited together in Flash. On top of this, the individual assets that you can walk in front and behind sit on top. I'll explain this process in more detail in the future.
Full size
Full size
Full size
This last image taken from Flash scaled at 25% shows what the level actually looks like in game without the colored water filter.
Full size
More to come next week--
Previous topics:
Overview of Environment Art Pipeline
Using the Shallow Sea as an example, here is the progress a level goes through from rough pencil sketches all the way through to a final, traversable environment.
First off through several meetings, we decide on all the elements of the level from what theme we'd like to create, the gameplay flow of an area, and ideas for landmarks, roads or anything else that defines the environment. The level design can change during production, and has a degree of flexibility until we land on a final result.
As you can see in the early concept stages, a grid in the same proportion as the 780 x 505 pixel rooms are used for laying out objects, determining how each room will transition to the next, along with their overall composition. This is an important step. The giant seahorse skeleton that you walk on for example was formed so each section of its body flowed cleanly into the next room, and the spot you transition over to the inside of the shell is located at the center of a room.
Full size
Full size
The pencil concepts then get a color treatment to be used for reference in creating the template geometry and ultimately, the finished 3D models. This level's beautiful painting was done by the artist Jen Zee.
Full size
Once all the final geometry and textures for the area are created, each room is rendered and composited together in Flash. On top of this, the individual assets that you can walk in front and behind sit on top. I'll explain this process in more detail in the future.
Full size
Full size
Full size
This last image taken from Flash scaled at 25% shows what the level actually looks like in game without the colored water filter.
Full size
More to come next week--
Previous topics:
Overview of Environment Art Pipeline
