Battle of Sunaion

Darren talks us through the concept art that was created for a level in Halo 5: Guardians

1 Look and feel

“This concept was done to establish the look and feel for the overall art palette for the mission Battle of Sunaion in Halo 5: Guardians. The process started out with exploration sketches. This version was getting pretty close to what we wanted, so we decided to push it a bit further into a more resolved image.”

2 An ill ustrative look

“For this type of task one of my favourite ways to work is to find a sketch I’m happy with, lock a camera to that image in 3D, and build out some basic geometry to establish the scene. I try to resolve foreground elements in 3D if I can, because then the closest information to the camera is the most structurally solid. Detail and structure can then dissipate to indication, as elements fade to the background of the scene. I can hand-paint that information in to save time and retain a more illustrative look.”

3 Harmonising process

“While finishing a painting I like to work from background to foreground, ideally. Once I get the bulk of the image laid in as a sketch or 3D, I find it helpful to resolve the background first and let that dictate the rest of the image’s fidelity. I can indicate a lot of details in the background, and build in more information as I move forward to the foreground. In the foreground my efforts go into ‘breaking’ the 3D and harmonising it with the rest of the image.”

4 Back to front

“I’ve included this step to show my thinking on working back to front. This new element on the right is in the mid-ground, and starts to get built in ‘paint’ as I work closer to the camera in the painting.”

5 In the foreground

“I’ve moved to the foreground and can see the finish. A lot of the data I want to have in the final is now in the image, and it’s now more about finishing details, harmonising and tweaking the image overall.”

6 Final image

“I’ve continued adding balance to the piece, and put in a few last-minute narrative details,such as the shadows on the central structure, to add the illusion of more of the banshee’s [a flying vehicle] presence out of frame.”