For Polyversal, I’ve been extremely busy on the artwork side of things. I’ve commissioned over 35 pieces of science fiction artwork (and more to come) from 2 different artists- Bruno Werneck (Tron: Legacy concept artist) and James Masino (War. Co. Card Game, Student, and up-and-coming major talent). Commissioning is no easy task. When you’re creating a game that is set in the future like Polyversal, or any game for that matter, the visual appeal is an important aspect of the overall product. How do people react when they see the images you present? How does it tell the story of the game? Is the artwork consistent? Generic? Evocative? Does it properly convey the game’s theme?
In general, as a publisher or art director, you write narratives for each piece of commissioned work noting the specific size and details of the piece’s vision.
Here are a few tips and an example narrative for designers / publishers working with artists to create imagery for games. This post skips the contractual side of things, which is also important for you and the artist and assumes you have already come to terms for the particular work the artist will do. At the end of this post, you’ll read a Commissioning Narrative for 1 pieces of Polyversal artwork and see the actual final artwork from James Masino- along with his comments.
- Tip 1: Be specific. When you write a narrative for a commissioned piece of art, the artist needs to know everything that you have in mind for the piece. If you don’t have a vision for the art, you cannot expect the artist to create their own for you- and if they do- what if it’s not what you had in mind? Be specific and write down every key aspect of the piece that’s important to you as the publisher / designer / art director. It’s helpful to brainstorm a list of points you want to convey in your narrative before you write it.
- Tip 2: Be flexible. You’re hiring an artist for their skill in creating the image you want. Each artist will have a certain style and set of strengths that you’ve likely been drawn to when searching for an artist. Work to their strengths and let them shine through. Have some flexibility in the final image and confidence in the artist’s ability to fill in details for you if you don’t describe them. This can include things such as lighting, color, expressions of people, mood, or environmental details. In some narratives, I like to add “___ is up to you” (lighting, time of day, etc.) to specifically note a point of flexibility.
- Tip 3: Be sure. Nothing will turn off the artists you pay- like changing something mid-course. Before you submit your narrative, read it over- three times- and submit it once. Make sure it makes sense and describes whatever vision you have in your head for the piece completely and that parts not described specifically will fall within the realm of your flexibility. If you aren’t sure you want the piece or aren’t sure on the details, or it isn’t complete, don’t send it. Most importantly, try not to add details or changes based on things not previously described once the piece is submitted for final review. For one, this can cost you money depending on the change policy of the artist, and two, it will cost you time.
- Tip 4: Be prompt. This applies to answering the artist’s questions during the creation process, amending contracts as required if something is added or changes, reviewing anything submitted for feedback, and most importantly, paying the artist when it’s complete (within the terms and timeframe of the agreed upon contract).
- Tip 5: Be appreciative. Support your artists. Pay them first. Share their work and your appreciation of it. If the art is for a game that is crowdfunded, share the completed pieces (or a selection of them) with backers. And always credit the artist. This helps show appreciation for the good work they’ve done to visually complete your game. It also helps keep them in business as an artist which helps you in the future and helps them now and in the future.
Each piece starts with a vision. Each vision is transcribed into a narrative. Each narrative becomes art.
Here is an example commissioning narrative sent to artist James Masino for one piece that will appear in the rules of Polyversal. This piece helps tell part of the story of the game and is not for an actual game piece. It is important to set a mood of mystery in the game, which I think James nailed here. I hope you’ll agree. Feel free to add your comments.
Narrative: ScanFab Facility, 8.5″x5″ landscape
This piece depicts a structure- the inner workings of a ScanFab facility- secretive and sterile. Mostly white with hints of UN Blue. Or even Orange highlighted stripes and features in the walls and floors similar to Tron: Legacy. It’s a fairly large facility inside with massive power requirements. It’s also fairly bright but there are no windows since it is likely underground. Think of a rather large Subway station with a utopian feel… but for a different kind of transportation…
Regular ‘selected’ citizens (i.e. strong, healthy, fairly young) are lined up and about to go through a ScanFab ‘sending unit’ which I picture as fairly large. Maybe just the entrance to the room is shown…. Again, think sterile. Perhaps all are all dressed the same in some sort of hospital gown like clothing. There are men and women in line, maybe a few are talking. But nothing is forced. They’re selected and eager to be here because of it. However, there are also armed guards similar to a checkpoint at the airport… but only a few. There is a mystery of what occurs on the other side. No one has any belongings with them. Citizens are lined up to be ‘scanned’ for evacuation. But what happens to their bodies here? We won’t reveal that in this piece. We may never reveal it…
The idea of scanfabbing in the storyline is that the UN controls all of the sending and receiving units built for the purpose of evacuation. The receivers are in distant colonies (set up by those pioneers). The scan portion is in the sending process. The person is scanned in full and ‘sent’ to the receiver- scan information transmitted at the speed of radio to the receivers (i.e. just under the speed of light). The receiver portion is the ‘fab’ portion where the scanned subject is ‘built’ or fabricated from the same raw materials found in all humans- 99% oxygen, carbon, hydrogen, nitrogen, calcium, and phosphorus. About 0.85% is composed of another five elements: potassium, sulfur, sodium, chlorine, and magnesium. We may depict a receiving unit on a colony in another piece. An exact copy of the person is created on the receiving end- including the brain and all memories of the scanned subject from the sending unit. It’s like teleportation… but almost plausible?
This is Operation Polyversal- the mass evacuation of hundreds of thousands of people ‘selected’ to continue the human race off-world. They are evacuated only from UN-controlled countries and selected using some criteria that’s top secret. Not everyone can go- there isn’t time to set up enough space and life support off-world, we haven’t found a substitute for Earth yet- and there are just too many people on Earth. Plus… would the UN want them all?
And of course- there is mild protest to this whole process 😉
Here’s the final piece, which was accepted without any changes:
(UN ScanFab facility for Polyversal. Art by James Masino)
James had these comments about the piece:
This one was the most challenging. It’s the first time I’ve tried to depict a crowd of people before! Nonetheless, creating this one was an interesting debate. There were a lot of elements to work with in the description, and for the story’s sake, I emphasized some elements more than others. On one hand, we have people who have been selected to transport- and they’re excited in a more hospital atmosphere built to deceive the ScanFab’s true purpose. On the other hand, this is the mass evacuation of the planet in a militarized society, and there is reasonable mystery behind what the ScanFab facility really is. I wanted the atmosphere to echo that sort of mystery that exists in works like Tron or Star Trek, where the viewer, and both the characters within the painting are questioning the world they’re in. The mystery of what is on the other side is truly the pinnacle of the end result.
Whenever working with mystery in artwork, it always reminds me of the Ted Talk JJ Abrams did about this box of magic tricks his grandfather gave him when he was a kid- and still hasn’t opened since the mystery is more exciting than what’s actually within. Always something to strive for!
Hopefully you’ll find these tips useful- or at least see a bit of the process I go through when working with external artists for my games. Feel free to comment / share.