Professional Practice & Industry Facing Materials

Creating a CV

For this latest assignment, we were tasked with composing a CV and cover letter for potential jobs. We were also asked to create a showreel highlighting our skills and also a portfolio which I have on ArtStation.

A CV is your first chance to make an impression.  It showcases who you are as a person. It should be well-organised and easy to read using clear headings and bullet points.  I looked at a few websites to help with the writing.  (See below)

https://nationalcareers.service.gov.uk/careers-advice/cv-sections

A CV can reflect the industry that you are applying for.  There are many templates out there and it is difficult at times to know which to choose, or whether to design your own.  The Government website indicated that it is best to use a professional font and stick to a clean and simple layout.  Yet, you do want a little personality to come through in your design.

With each job application, the CV should be tailored to the specific job that is being applied for emphasising the skills and experience most relevant to the job. It should also be no more than 2 pages long, preferably one page. All jobs will have many applicants and therefore employers will have a number of CVs to trawl through so you want your CV to stand out.

The CV should include a summary or objective statement with a brief overview of your experience, in reverse chronological order, and what you bring to the table as an animator.  The skills that you possess in relation to animation should be highlighted such as 2D/3D animation, character design, storyboarding, rigging etc.  You should also include the software proficiency you have and include any additional skills like teamwork, time management and problem-solving, as well as highlighting your carer goals.

Contact information needs to be included along with your professional title and a brief mention of your educational qualifications including animation-related coursework or any specialised training programmes that have been completed.

A link needs to be provided for your online portfolio and showreel.

Proofreading is essential before submitting the CV to make sure there are no typos or grammatical errors.  A CV is the first opportunity to make a positive impression on a potential employer.

Before composing my CV I had a look at some CV and cover letter templates to see which ones I liked.

Below are some of the options I looked at and considered replicating.

They all show different ways of formatting a CV and what is included.  I felt that the first three all looked quite ‘business like’ and didn’t really like the over all layouts.  I personally am not keen on putting a photograph on my CV so, again, that did not appeal to me.  I did like the fourth one.  I felt that it was simple yet elegant with an artistic flair to it so I decided I would amend this.

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Below is the amended template for my CV.

The above is my first iteration of my CV.  I took out the headings that I didn’t reflect my own skills and experiences and moved things around a little.  I liked that this didn’t have a profile picture but used my initials in a creative script font.  I initially thought about changing the colour from pink but in the end I decided to stick with it as the other colours I tried didn’t work or create the effect that I was looking for.

The above is my final iteration. I decided to make some alterations to the design.  I extended the pink colour block on the left hand side of the page which I preferred and also changed the colour of the CS, my initials, to contrast with both the white and the pink.

 

Creating a Showreel

Showreel research

A showreel is exactly what it says!  It is a short video that shows your snippets of your best animations to date.  I prefer working in 2D animation so my showreel is mainly made up of 2D animations.  This is the area that I really want to be applying for so it is appropriate that my showreel reflects this.  I really enjoy character design and feel that this is a strength of mine.

The showreel doesn’t have to include fully completed animations these can be rough animations and show the direction in which you are going. Ideally, a showreel should be about 1 minute in length.  The edits should flow smoothly and quickly into the next one in quick succession.

Below are some examples of showreels I though were good.

I wanted text animation so I watched this after effects tutorial

This is the original version and because of the title card and end car it went over 1 minute by 11 seconds

 

Creating a Cover Email and finding Job listings.

To accompany the CV a cover letter or email is also required.  Again, I looked at a few online websites for advice on how to do this.  I also wanted the style of the Cover Letter to match my CV.

A cover letter or email is something that accompanies your CV.  According to the national careers advice service that the government provide there are tips for writing a cover letter.

  • A new cover letter should be written for every job you apply for. It should be specifically suited to the company and specific job role.
  • You should use the same font and size as you do for your CV, so it looks consistent.
  • You need to make sure the company name and recruiter’s details are correct.
  • You need to use the right language and tone and it is useful to match the keywords used by the employer in their job advertisement.
  • show you’ve done your research into the job and the company. Show that you are aware of their ethos and goals and have a vested interest.
  • highlight your most relevant skills and experience to stand out from other applicants
  • back up any statements you make with facts and use the STAR method which stands for situation – the situation you had to deal with. T= task, the task you were given to do, A=Action – the action you took and finally R = result, what happened as a result of your action and what you learned from the experience.
  • Always double-check spelling and grammar before you send it
  • keep a copy of your cover letter as they may ask you about it in an interview

As I have a diagnosis of Autism, DLD and Dyslexia I also looked up advice on whether or not that should be included on a website.  As someone with a disability, it is always difficult to know when the right time is to inform someone.  I don’t want to be defined by my disability or potentially face discrimination either.  I looked at the information on https://www.disabilityrightsuk.org/resources/telling-people-you’re-disabled-clear-and-easy-guide-students

Many people do disclose their disability in a cover letter.  However, with the nature of my disability, I decided I would prefer to discuss this in a 1:1 situation if I were given the opportunity of an interview.

As a cover letter should be tailored to the job description and I went about looking at potential jobs for animation.  This is the field I really want to work in.  There are several ways to go about finding a job but online sites are a good place to start.  With the world now being smaller and opportunities for remote working plentiful post covid, the world is now more ‘local’ than ever before. I visited anmiatonuk.org to see what they had.  They have a list of companies with direct links to potential jobs.  Even if there are no current jobs available they often indicate that they would be happy for you to get in contact.

I looked at A&C studios as they had opportunities for Freelance work and were offering remote work.  Often there are direct links to apply on the site and opportunities to directly upload your CV and cover letter.  Below is what they are looking for and also a direct link to apply online.

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I tailored my cover letter to match 2D aspect of the freelance work that was being offered.  Below is a copy of my cover letter.

 

Portfolio

I want to look into doing character design so I watched this video by Jackie Droujko

I also looked into her website.

https://www.jackiedroujko.com/

 

my Artstation https://www.artstation.com/chloesnowden1

 

 

Reflection Blog

For this assignment we were put into groups with the Games Design course to create a game. The game theme were were given to base the project on was ‘Unstable’.  My group consisted of 4 animations members and 3 game design members. The Animation team was made up of Abby, Cate, Malcom and myself and the games team was made up of James, Jamie and Robbie.

When starting this assessment we had to come up with a couple of ideas for a game.  We settled on a two player verses stacker game. 

The idea behind the game is to build towers.  Two sides complete to build a tower from different blocks  and whoever gets the highest tower first is the winner.  There are power-ups that can be used to make things harder for your opponent.   The game’s target audience is ages 15-28.

Once the game idea was decided we split up what we are going to do. Abby and I ended up on character designs and Malcom and Cate ended up on backgrounds.

Our first assessment for this project was to create an art style and art guide.  We were giving a list of style options to choose from when creating an art style for this game.

  • “saturday morning” friendly cartoony – Examples: Spyro the dragon, Skylanders, Sonic the Hedgehog, Mario.
  • “Wacky” animated: Cupheads, Mouse.
  • AAA realistic – Call of Duty, Battlefield, Splinter cell etc.
  • AAA exagerated realism – Doom, Gears of War, Fallout.
  • “graphic novel” inspired – Borderlands, XIII, MadWorld, Hades etc.
  • Soft fantasy – Breath of the wild, Fenix Rising, Avatar the last aribender.
  • Dark fantasy – Elden Ring, Lords of the fallen, bloodbourne, Hollow knight.
  • Epic fantasy – Lord of the rings, Skyrim, Baldurs gate.
  • Comic book inspired fantasy – Darksiders, World of warcraft, League of Legends.
  • Clean Sci-fi – Mass effect, Starfield, Destiny.

We decided to go with Saturday Morning as an art style for this game.

These shows typically have coloured line art on their characters and little to no line art on the backgrounds.  This makes the characters stand out a lot from the backgrounds.  The characters are made with bold shapes and simple structures, for example, the eyes, which is typical of this stype.  One of the best examples of this, in our opinion, is the Generation Four My little pony character: Friendship is magic.

 

Other show we looked at were

  •  Little miss pet shop
  •  Ever after high
  •  Hilda (pilot)
  •  Winx club
  •  Bee and Puppycat
  •  Monster High
  • SVTFOE

We wanted our animations to have an art style that would appeal to all ages and target audience demographics.  To do this, I looked at other Saturday Morning art style for shows. Such as TMNT 1987, Looney Tunes and Wacky Races which are aimed at a different audiences and age demographics.

Abbi initially had an idea for a character when we started the game. She was able to use this character and did a little bit of re-design on it to make it more useable for the game.   Once it became a two player verses game we needed to come up with another character. I decided to create a Racoon character to go up  against Abby’s Bunny character.

When designing the Raccoon character I used the raccoon from MLP as a reference as well as an artist I had found on instagram called Tessa Nelissen (@Jessali-tn). I really like how she draws animals and particulalry how she drew the animal’s fur. I did, however,  have to simplify the fur for a more consistent art style in keeping with Abbi’s bunny character. I tried my best to combined the more ‘kiddy simplistic’ art style along with Looney Tunes and Tessa Neliseenn when creating the Raccoon character. I also tried to match the Bunny character to the fit together in the game. When drawing the final design I wanted to make it more expressive and mischievous in its body language.

For the colours I ended up colour picking from a Raccoon images I was using as a reference. I wanted the Raccoon to stand out against most cartoon raccoons so I designed to use  browns instead of greys.

Malcolm did the background for the bunny and work on the UI along side James. While Cate did the background for the Raccoon as well as other assets, for example,  the crane.

One of the most important assets for us to design for the game was the blocks. We use the standard default block shape you often find in most stacker games, especially Tetris. We each chose two different blocks to design.  Each of use are going to design 4 blocks in total. Two versions of each block for each area of the game, for example, a version the L-block for the Raccoon area and a version of the L-block for the Bunny area.

We had a bit of trouble coming up with a constant art style for the blocks so in the end we decided to each do one part of the block process. It was decided that I would re-design all the blocks for the entire game.  Then Malcom took my sketches and did the line art for them. Malcom then sent the line art to Cate and she did the flat colours.  Finally, Abbi got the blocks and added the shading.   Doing it this way ensured that all the blocks looked the same.  It also ensured that we all took part and no one person ended up doing up more work than another person..

Each square of the blocks are 25X25cm.

 

Abby and I designed the characters so we were in-charge of doing the character animations. We were givin a list of emotions/reactions for us to animated. This included  happy, sad, mad, dizzy, frozen, a defeat animation and a winning animation.

When doing the animations for the characters Abbi and I made sure to have our character drawn in the same line thickness so we agreed to use the pencil 2.

The game is a 1 v 1 game so we wanted power ups. The powers up are a bomb, wind and a freeze.

I was asked to do the bomb animation for the bomb power up. Initially I found animating the explosion rather difficult but after watching a couple of YouTube videos I was able to animate the explosion.

I ended up finishing my animations first so I offered to do the character icons for the UI as for the longest time we used a concept piece of the Raccoon character as the two characters in the UI.  As I did the UI icons, I could ensure that the characters were drawn in the same way.  Jamie also suggested to me, that, if I had time, I could also draw  borders for the character icons.  I thought this was a good idea.  I ended up doing an eaten apple for the Raccoon which matched the Raccoon’s dizzy animation and carrots for the bunny with match the bunny’s dizzy animation.

Conclusion 

If I were to do this again I think I would do further research into how different characters react in different games.  This would enable me to improve my character animations in the future.   Communication is key!  I think communication could have been better.  There were times when I was totally confused about what was happening, particularly on the gaming side. Often people didn’t respond and this was frustrating and stressful.   I also need to keep up-to-date with writing the blog so that it is fresh in my memory or at the very least, write down bullet points as I work so that when I go back to write the blog I can remember what I did.    Looking back over the project from the start of the assessment to the end, I have realised the Raccoon design is constantly changing even when I wasn’t intentionally wanting to make changes.   Particulalry when feedback was given.    If I were to do this again I would be more careful when designing the character in the first place so the design is strong from the start. I would also be more careful that I’m not drawing the character differently each time, make sure to have a strong character sheet which I stick too,  and make sure I have a good, strong art style which also doesn’t change thought the process of the game development.

Character Icons

The UI was Designed with two spots for character icons.  At the moment we have two place holder images which are both concept art of the Raccoon.  I was finished with all my animations so I volunteered to draw the character icons. I was also given the suggestion by Jamie to draw borders to go around the character if I had the time.

The images below are the drawings for the character icons.

As these icons were for the UI I thought it would be a good idea to have the character drawn and coloured differently from how they looked in the game. I thought this would be good because the stand-in images for the character icons were images from the Raccoon concept art which was more detailed than our final design and animation. I thought having more detail in the colouring would look and fit better in the UI.

Borders for the Icons.

Jamie suggested that if I had the time, to do borders for the character icons. He suggested to look at the borders for Nintendo switch online profile icons. This helped me picture how I was going to go about to the different borders for the Raccoon and Bunny.

The images below are the design of the border for the icon.

I decided to do half a eaten apple for the border of the Raccoon and carrots for the bunny character which match the dizzy animation of both character.

 

The images below are the final character icons.

Raccoon and power up animations

 

I did the rough animations on proceate with my iPad as I’m not very confident in using harmony for rough animation just yet.

Before I started doing the finish version the Raccoon’s character animations, I did a couple of tests on ToonBoom harmony.

At some point in the process we had the idea to give the character hard hats, however later down the line we decided not to go with this idea. When I was happy with my rough animations, I then imported them into ToonBoom Harmony to begin the line art.

 

I did the Line art of the animation for the raccoon. I am decided not to colour at this point in time until I see how Abby’s animation looks so it will be easier to edit. Abby and I both decided to use the 2 pencil on harmony so our animation had the same line thickness.

I did some touch ups to clean up the animation, then I coloured in the frames and added some final details.

After feedback I realised I’d forgotten to add the vein on the angry animation.  It was then suggested to add in ice on to frozen animation to make it look more cold.

I was asked to do the animation for the bomb power up. I found this difficult at first and couldn’t figure out how I would go about doing this animation but after I watched a couple of YouTube videos I was able to figure out how  to do a bomb animation.

Post Production

When all of the animation was edited and complete and feedback received,  I exported all the animations images and put them in folders named for each animation.  I then uploaded them onto my google drive so I could send the link to gamers so they could put the animations in EU5 for the game.

Raccoon design update

After some feedback I changed the saturation of the colours on the Racoon, as it was pointed out to me that the colour/saturation on the Raccoon was much brighter than the colours/saturation on Abby’s Bunny character. To fix this error I made adjustments to the saturation scale so the colours better matched the colours/saturation of the Bunny character.

 

 

I also redrew my character sheet by using my cat as reference point. My last character sheet had errors in the shape consistency. So I made a My little pony: Friendship is magic mood board that way I had references to look more closely at when drawing and recreating the Raccoon character sheet. This was to help me ensure I had more of a consistent graphic art style.

When re-drawing the Raccoons, I made sure to draw the raccoon less fluffy looking making the design more simple and this way it is easier to animate and also to make  the Raccoon character better match in with Abby’s Bunny character in art style.

The image below is what the Raccoon animations will resemble in the animation art style.

 

Block Designs

 

This game is a stacker based game where you build the biggest tower to win. so logically this game needs some blocks! The block shape we will be using for our game are the standard default blocks you find in most stacker themed games like Tetris.

We all agreed to each design two different block designs for two shapes that meant each of us were designing 4 blocks in total.  2 for the Raccoon assets and 2 for the bunny. I went with the I-block and the J-block.

The image below shows which member will be designing which block.

Malcolm= L-block and  Z-block

Cate= S- block and because we need an extra on we added a C-block

Abby=O-block and  T-block

The Images below are my 4 design for the blocks I had picked.

The blocks for the Raccoon were based on trash and half eaten fruit and the Bunny’s blocks were based on hay and fresh vegetables.

We had difficulty trying to get an art style for the blocks. Each of our blocks looked too different from each other. So, we ended up coming to the conclusion that one of us should draw/re-draw. the block designs. The next person then was to do the line art for the blocks and then pass them on to the next person to then do the flat colour. The last person would then add in shading onto the blocks.

Everyone picked which part of the process they wanted to do. I suggested the idea so I let everyone else pick first.

I ended up on design/re-designs.  The images below are the sketches of all the block designs.

 

 

I used a drawing guide that’s build into procreate to get the correct sizes for each square of the blocks. Each square is 25X25cm.

 

We all liked the look of how Malcolm did the line art in his block design so we all collectively decided that Malcolm should be the one to do the line art for the blocks, so once I was done I sent my sketches to him. When Malcolm had completed the line art, he sent Cate the line art with a transparent background so she could then do the flat colours. After Cate was done with the flat colours she sent the blocks files to Abby to be shaded.

The image below is what the blocks ended up looking like for the game.

 

Academic Papers Reflection

The article my group decided to review was:

Animating for Interactivity: The Walk Cycles of Prince of Persia (1989) and Ninja Gaiden (1988)

My group consisted of Kori, Anna, Luke and myself.

For this assignment we were analysing the trade-off between realism of movement and responsiveness to user input in video games, and how this affects their interactivity – through the walk cycles of Prince of Persia (1989) and Ninja Gaiden (1988).

Notes from the main article and other sources.

 

One of the earliest animation devices to demonstrate movement in a continuous motion is a Victorian toy which was mainly marketed towards children called the Phenakistoscope. The walk cycle loop was first popularised with the phenaakiscope and the proto-cinematic toys.  These contained the earliest examples of walk cycles, whether they were of a realistic humanoid, a cartoonish clown, or the transposition of Muybridge’s famous running horse. 

The Phenakistoscope gives the illusion of motion by using the persistence of vision principle. The Phenakistoscope works in a similar way to film.

The first person to create what we would now call a Phenakistoscope was a Belgian physicist called Joseph Plateau back in 1832. He began to experiment with optical illusions when he was a university student in the late 1820s, and a few years later he created the Phenakistoscope.

Joseph Plateau had a background in art and design. His father had wanted him to follow in his footsteps. He was a painter and illustrator.  Joseph Plateau was enrolled in the Academy of Design in Brussel, but took a different path and became a scientist instead. Joseph Plateau artistic skills were useful as he actually hand-painted the original design on the first Phenakistoscope. 

  • Gertie’s gait in Gertie the Dinosaur (McCay, 1914). Is a well-known example of a pre-cel walk cycle.  

The video of Gertie the Dinosaur

https://youtu.be/32pzHWUTcPc?si=UH-8x8F1i4cviDgl 

Gertie is the best-preserved film of pioneering animation Winsor McCay. It was named #6 of the 50 greatest cartoons of all time in a 1994 survey of animators.

Gertie was the first animated character to have her own personality

McCay created a 7-minute hand drawn cartoon of a sauropod dinosaur, based on the Brontosaurus skeleton that had been displayed in the American Museum of Natural History in New York since 1905.

  • Early animations tend to lean towards “boiling line” this is because without a means to layer drawings, each frame must be completely redrawn or traced from a previous frame. By layering transparent cels over transparent cels over background images, cel animation systematised and standardised the separation of foreground from the background, which allowed animators to reuse animations – such as the walk cycle – as a loop. 
  • Like early cartoons, video games also had a brief period when games had no background image, such as in Pong (1972) and Asteroids (1979), and little – to –no variation in a level layout, such as in Pac-Man (1980) and Donkey Kong (1981).   
  • Disney’s high-budget films are exemplary of full animation, while the studios UPA and Hanna-Barbera pioneered limited animation for cinema and television, respectively.  
  • these two approaches to animation aesthetics are certainly useful for understanding PoP and Gaiden’s walk cycles. Full and limited animations’ differences can be explained technically and stylistically.  
  • Full animation uses new images between 24 fps or 12 fps 0n ones or twos.  
  • Limited animation is anything less.  
  • Japanese animation scholar, Lamarre (2002), states that limited animation of anime tends to move drawings instead of drawing movements. 
  • Full and limited animation are not pure categories but, tendencies that link up with production demands and stylistics choices. 
  • These tendencies exist in video games. They then become articulated in ways unique to the demands of the interactivity and the video games medium. 
  • Prince of Persia experiments with full animation in a video game, while Ninja Gaiden deliberately takes a mini market approach associated with limited animation techniques. 
  • These games both draw on the history of the animation that precedes them. 
  • Animators might work overtime to finish a budget-constrained cartoon. 
  • Video game designers are bound by the processing and memory constraints of computer hardware. 
  • Actions of characters in cartoons are only ever bound by their creators’ imaginations. 
  • Video game characters are interactive, therefore constrained to a few useful, repeatable actions. 
  • Game designers draw on the tradition of both full and limited animation to make necessary compromises. 

This article compares the different techniques of walk cycle between two games, Prince of Persia and Ninja Gaiden and why the different techniques are used in each game. The article also talks about the history of animations and walk cycles.After reading this article and other resources I’ve learned about the ‘boiling line’ animation method. I also found the history of the Phenakistoscope interesting. The author of this article did have a lot of references through out the article however, I found while reading the article the author wasn’t the best at explaining animation techniques and that I have to go a research them myself to fully under stand what the author was writing about. Both of this techniques have a place in video games. Which technique the animator goes with depends on the style of game.

Conclusion

I found this article really interesting as it explained about the origins and a bit of the history behind animated  walk cycles. If I were to do this again I would make sure I had a bit more work done and speak more when presenting. I would also write out a script to read from as I felt I explained my slides poorly and out of order and I don’t think I made sense to anyone listening.  This is something to take away from and work on. I am dyslexic and also struggle when nervous with speaking publicly so a script to read from is a must in the future.

 

My slides

(Anna wrote the first 3 bullet points I wrote the last)

 References and resources 

 

Fong, B (2023) , ‘Animating for Interactivity: The Walk Cycles of Prince of Persia (1989 and Ninja Garden (1988)’  25 July.  Available at: https://journals-sagepub-com.eu1.proxy.openathens.net/doi/full/10.1177/17468477231182910 (Accessed: 7/2/2023).

Coules, V (2019) ‘Introducing..”Gertie the Dinosaur”,24 July. Available at: https://palaeomedia.blogs.bristol.ac.uk/2019/07/24/meet-gertie-the-dinosaurus/ (Accessed: 7/2/2023).

Tiernan, J. (2022) ‘What is a phenakistoscope?’, 30 March. Available at: https://www.linearity.io/blog/phenakistoscope/(Accessed: 7/2/2023).

Torre, D (2015) ‘Boiling Lines and Lightning Sketches: Process and the Animated Drawing’ 14 July. Available at: https://journals.sagepub.com/doi/abs/10.1177/1746847715589060?journalCode=anma (Accessed: 7/2/2023).

 

 

Character and asset designs

This is the concept/original design for the Raccoon. For these drawings, I was trying to get used to drawing raccoons and figure out where to put the markings for the fur. For the colours I ended up colour picking for the Raccoon images I was using as a reference. I wanted the colours of the Raccoon to stand out against most drawings of cartoon Raccoon by using the browns instead of greys.

Base colours for the Raccoon.

Once we had a better idea of how we wanted the art style to look like I began to draw the raccoon character.

I wanted it to look like the Raccoon had a mask around its face.

These are my character sheets for the Raccoon character.

The art style is different from other Saturday Morning art style as it has coloured line art which is often seen in cartoon shows for younger kids mainly shows for little girls but, it is drawn in a style that can appeal to an older target audience. It has thinner line art then the mlp art style but thicker than looney Tunes. The eyes are one solid colour without any line art and no pupils.

Notes comparing the game Art style with other art styles.

These are very rough concept of the blocks for the game. I almost forgot to do design the block so I had to quickly come up with som place holder ideas/concepts and I will have to later on develop these concepts into the final designs for the game.

The power ups for the game will most likely been drawn in the same way as the blocks.

These are two shape blocks for the game. I made an L shape and a Line shape. The block outline needs to be thicker in the future.

I have written some small notes on the black designs as a rough guide.

First concepts of powers ups. These will most likely be redesigned and are not what will be in the final product.

Research on Art style

For this assignment we are task tp create an art style for the game we are work on with the games design course.

 

I am in a group with:

Cate Campbell

Abbi Dalzell

Malcom Nwobu

The above are all from the Animation course

Jamie Braniff

James McDowell

Robbie Logan

The above are from the Games Design course

 

Brief information  about the game.

The game is a stacker based multiplayer game. You build a tower from different blocks to try and get the highest tower to win. You can  use power ups to make things harder for your opponent.

The game’s target audience is ages 15-28.

We were given a list of Art styles to choose from for this project.

List of style options:
  • “saturday morning” friendly cartoony – Examples: Spyro the dragon, Skylanders, Sonic the Hedgehog, Mario.
  • “Wacky” animated: Cupheads, Mouse.
  • AAA realistic – Call of Duty, Battlefield, Splinter cell etc.
  • AAA exagerated realism – Doom, Gears of War, Fallout.
  • “graphic novel” inspired – Borderlands, XIII, MadWorld, Hades etc.
  • Soft fantasy – Breath of the wild, Fenix Rising, Avatar the last aribender.
  • Dark fantasy – Elden Ring, Lords of the fallen, bloodbourne, Hollow knight.
  • Epic fantasy – Lord of the rings, Skyrim, Baldurs gate.
  • Comic book inspired fantasy – Darksiders, World of warcraft, League of Legends.
  • Clean Sci-fi – Mass effect, Starfield, Destiny.

We decided to go with Saturday Morning as an art style for this game.

Two of us were to design the character and the other two were to design the backgrounds for those characters.

Abbie and I are doing the character designs. Abbi is doing the Bunny character while I am doing the Raccoon design.

Cate and Malcom are doing the backgrounds. Malcom is doing the Bunny’s background and Cate is doing the Raccoon’s background.

We each are going to design at least two blocks for the game.

I have suggested that we each design the power ups and we collectively decided the designs we liked best and finalised them but it unfortunately looks like we will have to worry about the power ups at a later date. I have done my own quick concepts of the 3 power ups we have decided on so far but I can’t see them being the final designs in the game.

 

References I used for the art style was for the Raccoon, blocks and power ups.

  • My Little Pony
  • Wacky Races
  • Winx Club
  • Bee and Puppycat
  • TMNT 1987
  • Ever After High
  • Loony Toons
  • Tessa Nelissen (@Jessali-tn)
  • raccoon
  • Tetris
  • Old coke cans
  • Eaten apples
  • Hay barrels
  • Monsters inc
  • Sonic power ups
  • Rocket Raccoon

We wanted the art style to have coloured line art as seen in shows like Winx Club, Ever After High, Bee and Puppycat and My Little pony. However these shows, excluding Bee and puppycat, are shows make for younger girls.We wanted our animations to have an art style that would appeal to all ages and target audience demographics.  To do this, I looked at other Saturday Morning art style for shows. Such as TMNT 1987, Looney Tunes and Wacky Races which are aimed at a different audiences and age demographics.

I tried my best to combined these art styles when creating the Raccoon character. I also tried to match the Bunny character to the fit together in the game. When drawing the final design I wanted to make it more expressive and mischievous in its body language. 

When doing research on art styles I came across and artist called Tessa Nelissen on Instagram. I really like how she draws animals and how she drew furon the animals fur. I ended up using Tessa Nelissen as reference for drawing fur on my Raccoon character.