These Marketing and User Acquisition creatives were made by Colin Adams for GSN Games. Because of the nature of marketing art, some elements of these designs contain images that were not created by me.
This design was for a sponsorship of a wedge on the Wheel of Fortune game show. The logo for the game Wheel of Fortune Slots: The Ultimate Collection had to be simplified, and the mobile and slot elements had to come through first.
War of Omens is a browser based deck-builder CCG. The cards existed in a 3D world, and had particles and movement to aid in intuitive gameplay. Every one of the 200 cards from the four factions was illustrated in-house. I was the artist for the Vespitole Faction, as well as the Endazu inscriptions cards.
Illustrations by Colin Adams.
One of the main characters in War of Omens. The Vespitole Family was based on the Medici family of Florence, wealthy and corrupt, with lots of political power and their own army.
"Campaign Chapter: The road to Gallus"
"Endazu character select screen"
The Endazu were envisioned as a reclusive group of powerful magic users with a North African cultural feel. Highly educated and residing in their elaborately decorated citadel, they honed their arcane arts far from the troubles of the ordinary world.
The mysterious Goetia were creatures of the desert, that traded powers for life.
A holy warrior, enforcer for the church.
"Tome of Memory"
The last guy you would want to borrow money from.
This was used in the motion graphic animatic used in an intro.
Side Scrolling Games
Isometric Game Art
Isometric games have worlds where there is a fixed down perspective, allowing the world to be built in a perspective that is actually made of a parallel shapes that fit together.
Most of these gun and target images were made for Top Shot: The Game. The History Channel show had a very savvy audience of gun enthusiasts, so I had to make the guns re-load and function just like the real ones. All assets were made in 2D, first as their basic shapes and parts in Adobe Illustrator as vector images, and then brought in to Adobe Photoshop to get roughed up and scratched, and to paint non-machined parts like wood grain and subtle shines.
Pitching games to clients required a lot of rapid concept work, gameplay examples, and finished splash screens. As Art Director of a small studio like Fifth Column Games, we had to constantly create new game designs, which allowed us to rapidly visualize many types of games.