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The Art Of GOD OF WAR | 4K

hey guys it's a tap from whose pixel and

today I have a very special treat I'm

very excited to share with you today I

want to talk about this book god of war

or at least the art of the art of god of

war being an art channel of course

before I get started however I wanted to

thank you the feedback I've gotten in

the last few because this is a new

series on the last few of these books

has been amazing in fact one of the most

common comments I've gotten is please do

more of these which is awesome because

this means that I can nerd out and enjoy

all of this great art with you and I

know that it's where our passion is

shared and I think that there's two big

lessons to be taken from this the first

is passion between the producer rebar

Locke and reg resetti the art director

the number one thing that resonated with

me and with a lot of players as well was

how much heart and soul went into the

production of this piece so much that

when quarry bar Locke saw how how well

this game did he posted a video on

YouTube literally in tears he could not

contain his emotion so much of his heart

and soul in his relationship with his

son and the story in the artistry in his

love went into the production of this

game of course this resonates into how

we feel about the book if it's just yet

another production and they're just

quote doing their job you can't you

don't have that emotional connection and

you you don't feel as invested in it

from an artistic perspective this

teaches us a couple of very valuable

lessons and I think this is probably one

of the best examples of how to approach

a portfolio in both an artistic way and

a practical way so let's crack this open

and the first thing you're going to see

after the poster art here is setting an

expectation now setting an expectation

on a very well-developed full 3d

immersive rendered environment shot but

it is a beautiful piece of art that has

a bar set very high now can you maintain

a high bar like this through the entire

Folio no you can't but what you're

telling the audience with this beautiful

rendered piece of work is I'm capable of

doing some pretty awesome things but if

the first five images are like this and

then they start to drop off it's going

to start to become a disappointment or

it might indicate to the director hmm

maybe this artist has only produced a

couple of great pieces of art so right

after setting this great expectation you

immediately flip into something that's a

little bit more relaxed because let's be

realistic this is a big game and there

was a lot of art to produce but if you

compare this to productions that had

much higher demand like Game of Thrones

which I reviewed here that the art of

Game of Thrones book in the art of Game

of Thrones they had far greater body of

work they had to produce so a lot of

sacrifices in terms of rendering needed

to be made in order just to get through

it to get to the point and they did so

in a beautiful way but in this one they

had a little bit more time and energy

and they really invested in artistry in

this piece so they kind of bring things

back to a neutral place but still not

disappointing and then we start to move

forward and they have this page this is

a very important page there's something

very powerful about splash pages with a

lot of characters I learned this when I

was studying animation when you do a lot

of character designs or different types

of designs of any kind you end up after

a certain point of time with a

relatively impressive body of work and

to do splash pages that's kind of a

collage of your history as an artist

showing your best stuff of course it's

very impressive to look at because it's

showing an incredible it's showing your

experience it's showing the beauty of

your work and it's fun to look at just

glancing over all of these cool

different varying characters however

you're gonna notice what you don't do is

dwell on anything too long because

they're too small so if I kept doing an

entire portfolio this people would start

getting annoyed particularly directors

because they want to be able to get a

little bit deeper into your work and say

okay let's get into the nitty-gritty I

want to start and I want to start

getting more into the character and get

to see more of what this person does

more on a refined level how do you flesh

up these designs a little bit a little

bit more in depth so we end up with

something like this where we

get in closer and have a more intimate

look at the character in this piece I

can see there's some photo texture work

and there's a very good chance that this

is a 3d render that's been painted over

but done so in a way that shows that the

artist knew how to create art very often

one of the big faux pas is that an

artist will photo bash before they learn

how to draw they don't learn the

fundamentals first and it shows because

the art looks bad because it's photo

bashed it's inconsistent to color the

saturation to composition the depth the

the atmosphere the perspective is

completely off photo bashing does not

replace art it doesn't replace the need

to learn art so the artist learned art

first but look at the beautiful palette

but sitting setting an expectation

starting things interestingly but subtle

D saturated because one of the things

that Rhaegar said he did was piece the

artistry through the game and through

the book in such a way that you never

got bored and you just kept feeling that

progression and getting more and more

dazzled as you worked your way through a

nice emotional piece because this is a

very emotional game the story is very

touching here's another important piece

of artwork notice how every square inch

of this page has been used there's no

wasted space a very common mistake that

you need to stop doing right away if

you're doing this is to have a big big

open vast area that doesn't have a lot

of information in it with a little

character I lost out in the field

that's so far away or so small or is

doing so little we're so under designed

that it basically makes a very

uninteresting looking piece and in this

particular piece notice how these

characters are actually relatively large

in the scene

regardless of the fact that they're

actually in the scene because this is a

character centric piece this is a bunch

of little images of different moments

the person cooking the archer this guy

doing whatever the hell he's doing these

dogs drinking these guys skinning the

giant it's a scene full of things

there's no empty big vast areas

furthermore there's a lot of atmosphere

in the documentary YouTube channel

called every frame a painting I love

this channel he has a video where he

talks about Akira Kurosawa

work it's called composing movement and

he talks about how directors will

successfully or unsuccessfully use use

movement in a film where in Kita's films

every frame either has somebody moving

and doing something or something moving

so if it's a still image where

somebody's just sitting there relaxing

there's rain in the background there's

smoke there's wind chimes moving there's

people using their fans there's people

clapping there's something going on in

the scene and he compares that to the

Avengers where there's a like a

five-minute scene where it's just static

with just some camera movement going

around the characters like this it

completely is completely dead energy

notice the smoke the atmosphere the

animals the birds the leaves they're

composing movement and adding that

element of movement in the scene adds a

lot of depth to your artwork I love this

the way this scene has been shattered

all the negative spaces between the

branches and the ice because it's an

otherwise very mundane top-down view but

the fact that you can even see something

underneath the ice that's pretty a giant

under the ice very very cool

so kind of fracture because there's such

a large negative space with the deer in

the middle because he's teaching his son

to hunt he's set he's he's shattered it

into negative spaces to make it a little

bit more interesting so you're not just

looking at straight at something you're

looking through things a very powerful

tool but the Helsley there's an artist

that does that all the time but his his

name eludes me

now again ray starts to set he gives you

a little bit of a dazzle because you've

been looking at more monochromatic more

neutral tones and now he gives you a

little bit of green a little bit more

dynamic lighting a bit more contrast

some sharper textures some warm and cool

more dramatic shapes so you're feeling a

little bit of ooh nice he knew exactly

how you felt as you flipped through page

through page and he went it's starting

to feel a bit redundant throw some color

in so this notice how the progression of

this portfolio and the layout of this

art is a work of art right now character

centric artwork the character fills the

frame as they say in photography fill

the frame with that what you love the

character fills the frame the

environment adds context to the

character adding context to a character

helps

you to help to evolve your design give

you a little you're not just creating a

character but it you think about the the

landscape that this characters apart in

but it's just adding context to the

character versus an environment centric

piece such as these ones we zoom in a

little bit well you notice that that we

always have little people in the piece

little people down here we always have

people in the scene it's not only to add

context of saying oh okay our characters

are progressing through this environment

but in an environment centric piece

which these are what it's doing is

adding having the humans give context to

the environment in these pieces the

environments giving context to the

character in this case the characters

giving context to the environment

environment centric character centric

but there's always a purpose it's not

just an environment it's not just a

character so it adds that storytelling

element furthermore look at the variety

the the director was very much aware of

the layout of these pages geometric and

monochromatic a little bit more of a

swooping line a little bit more angular

geometry with D saturated sand tones

rounded corners with high contrast more

organic rough lines yet all of the

colors balance nicely on the page

variety and they complement each other

this page is very exciting to look at

because when your eyes get tired in one

thing it flips over to the next thing

and nothing clashes or overpowers very

nicely balanced page again human scale

that progresses into tiny human scale so

then we realise just how huge the Giant

is which juxtaposed next to this shows

it just shows us just how large the gods

are just to show a sense of scale in the

piece and again a nice splash of color

and temperature contrast to goo nice we

feel that progression then switch it

because if you keep progressing too

aggressively you're gonna end up in a

dead end so now we're getting into the

sculpts if you get into the boys

character design character design this

is a character he has an emotional role

to play in the game and if you've played

the game the the premise that the idea

behind the boy was that he wasn't daddy

wasn't babysitting the boy through the

whole game otherwise that would hold

back the gameplay it'd be like oh okay

come on son hurry up

right you didn't want to do that so they

had to establish the boy in a way that

made you empathize with him made you

empathize with his plight but not feel

like he was a he not feel like he was a

Tagalog he had a very active role in the

in the game and he could hold his own

so these scenes here he looks a little

bit bratty and spoiled here he looks

like he feels sorry for himself that's

sympathy you don't want sympathy you

want empathy so as you progress forward

ah a nice change of pace get the nice

golden colors lovely and as you progress

through it you're gonna get another

scene beautiful use of climate always

bring climate into your pieces it's not

just a forest it's not just a street

it's not just a building it's a building

in the winter in the rain in the mud in

the autumn think about how climate can

add depth autumn winter beautiful use of

character designs nice swooping lines

good indication that the artist had good

line art as well you can see that

through the beautiful use of line and

then you have this other architecture

again another change of pace a little

bit more dark and foreboding more

interior shots and then we get into the

character designs some 3d models how

they were sculpting the face how

different he looks with it without a

beard I liked him better with the beard

personally yeah have you had a beard

henry cavill i was really worried when

they would before the witch and they

said that teaser henry cavill and he had

that really stupid looking white wig on

boy did he do a damn good job Henry damn

good job that was a perfect witcher

beautiful then we get the boy we don't

he's not sitting there with a bratty

Frodo face like this he's not you can

see he's got a little bit trauma and

struggle he's a boy who's conflicted

he's learning how to control his power

he's learning how to control his temper

he's a god and his father's trying to

teach him how to be a god right so he's

got to be tough his father's raising him

in a tough world with people who will

kick his ass but he's got to learn how

to control himself and learn how to take

make the right decisions in his life try

not to spoil

too much but look how you can see that

the kids focused and you could see the

kids concentrate he's got the read

around the eyes to show that he's

constantly in trauma mode almost all the

time but the kid can kick some ass and

he can hold his own right he's a very

viable member of this war team between

the two of them boy I like every other

father on earth I think for good two

months every time I spoke to Lucas my

son who's turning seven so yeah boy

bring me the fork boy Evers every two

seconds so I'm sure you did it do right

then we get into the Voodoo the voodoo

magic mod some more character designs

notice how every time our eyes get used

to something he flips it up and now

we're getting into the weapon design and

the same principles are applying here

look at the beautiful use of design and

texture in here but keeping it simple

the artist did not get ahead of

themselves and start getting into these

abstract cool you know world warcraft ii

looking things because this is supposed

to be based in realism you should be

able to fashion these with a real Forge

so they were trying to keep it neutral

gorgeous I mean this [ __ ] speaks to me

you know me and my designs is kind of

stuff absolutely love gorgeous use of

form true story a couple of years ago I

was I gave a workshop at the Ottawa

gaming conference and I had the honor of

meeting ape Taraki who's one of lead

concept artists for God of War and I had

just finished doing my workshop and I

left to grab a coffee and as I was

coming back into the workshop Abe was

getting himself set up for his

presentation and he had a big

illustration of the world serpent up on

big screen and everybody had just seen

me do the presentation so I was kind of

a bit of the center of attention and I

walk in and I I don't I turn around I

look at the screen now what like this is

audible gasp I came out of my mouth when

I looked at his work it was seeing his

work on big screen having the honor of

meeting a guy like that and sharing a

stage with him one of the highlights of

my career let me tell you to reg resetti

if you're listening to this video if

you're watching this video if I could be

honored one day Jesus Christ you're good

I mean the balls it took to produce an

enchanted forest like this and to

go from a very mature palates to

something incredibly saturated and

magical like this so successfully your

intention on wowing your audience was a

hundred and fifty percent felt this was

one of the most exciting visual moments

in a game I've ever experienced in my

entire life it was spectacular and

perfectly perfectly planned the design

that went into the turtle [ __ ] excuse

my language good what a moment I look at

this beautiful progression look at the

balls that goes into taking this this

mature architecture and splashing color

over it that's ray and the artist

showing off their artistic chops that

they could get away with doing something

like that

the beautiful use of designed again I

could imagine that that rig were said

he's probably a dark soul spent too

because there's a lot of that influence

in there to this kind of stuff this

speaks to me little accents of color let

this be a lesson to you as an artist who

wants to dazzle and catch the attention

of an employer of a client of your peers

that it's not only enough for you to

create a large body of work but the

consistency of your work the ecosystem

that your work lives within and the way

you present it to your audience is a

work of art in and of itself and the

more you grow and the more you gain

experience artistically the more you

learned the overall most important

fundamental lesson about everything that

you're ever going to produce the better

you get the less you take for granted so

be meticulous be thoughtful plan things

out plan your colors shapes composition

sizes designs varieties

and you'll be rewarded for that

artistically eyeless driving me nuts my

OCD is kicking me and I have to fix it

so hopefully this has been a fun

learning lesson for you I'm so happy I

got a chance to share my my passion for

this book and to Cody and turay God love

you too God loved the entire team who

worked on this and not only an enjoyable

experience but also as a memory that me

and my son shared together as well and I

love that I love how personal this game

is to me so I love you all for joining

me and happy painting sticker