Dragon Age Concept Art Book Download
Pamula Harrison
However you get to that combination, the concept remains the same. A lot of teams will use the running back out of the backfield to get to the flats, use a tight end to create better spacing, or motion into the flat route to get leverage on the defense.
Washington is running the Dragon concept with the running back and receiver to the boundary at the top of the screen. Tampa Bay is in Cover 3. The defender that the quarterback has to locate is the outside linebacker responsible for the flats.
Conversely, if the Cover 3 or outside defender runs in with the slant, that vacates space outside for an easy throw to the flats. Washington catches the Giants in a blitz and the quarterback sees the outside corner come in on the slant. That means nobody is left to cover the running back in the flats.
Dragon is a simple addition to quick game playbooks and gives the quarterback clean reads to attack man and Cover 3. It can offer the opportunity to get your players the ball while on the move, neutralizes blitzes, and keeps the offense on schedule in the short passing game.
Description of role: Elliot would be a damage user that can hide from his enemies using his invisibility. The only time his invisibility turns off is when activating skills or when all of his teammates are defeated. (more clear of an explanation in the skill descriptions). So Elliot is not targetable except in small windows when his invisibility drops (or by skills that can ignore that and do splash damage) but having low armor and reality means that in order to kill him you need to time your skills at the right moments.
Blue Skill: An Apple a Day
Elliot chows down on a few apples, it gives Elliot a small amount of energy and health each bite. Elliot eats 3 apples over 6 seconds.
(There is debate of whether to heal or do another effect. Original idea was to heal so will stick to that)
Or we can scrap the idea that he is always invisible and instead make it so that he turns invisible every time he uses (whichever) skill for x time. It loses a little of the uniqueness but easier to balance
I actually love this concept!! It is unique, uses a different character, it has everything. He is not too OP unless possibly, He is used by himself. If not, then enemies will attack and Splash damage attacks can hit him as well as Other certain skills.
You have to have the Recognized Creator role in the discord. To get it, another rec creator must nominate you and other rec creators must agree you have the artistic skills necessary, usually by looking at previous concepts you have posted in the art channels. There is no way to submit concepts otherwise, since they stopped doing contests completely.
Specifically on discord. In the server-info channel, if you scroll up a bit or look in pins, you can react to a message to get the artist role, which unlocks the creations and da-fanart channels where you can post art
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Hey guys! Chris Chien here with another tutorial. If you are in the Themed Entertainment industry, I'm sure you have worked on a Chinese project in the last 10 years. As an industry, we have designed so many Chinese theme parks and Monkey King attractions. Many of the Chinese parks I've worked on have been really routed in authentic Chinese culture.
In this illustration I wanted to give my take on what it means to design an "Asian" attraction and what that means to me. This illustration is an ode to my childhood growing up in Southern California and all the video games my friends played as kids such as Street Fighter or Japanese cartoons like Dragon Ball Z, while also paint homage to 1990s AZN culture.
Step 1) Reference: You can see here I'm paying homage to traditional Chinese culture, while giving it a modern stylized video game aesthetic. I'm trying design this with bold forms, bright colors and sharp clean lines.
Step 2) Photo Plate: Next I'm taking a photograph of the ride I'm trying to design, and photoshopping elements on top of it. It's important that everything be proportionate to the original ride system so that it can be feasibly built.
Step 3) Tracing Lineart: I'm doing on top of the photo-based layer, but I'm running into a problem. The draw simply just looks "too stiff." I'm not sure what is quite wrong, but something doesn't feel right. Time to problem-solve!
Step 4) Re-Draw by Hand: Here I printed out my file at a light opacity and redrew it by hand with pen and marker! Whenever I run into an artistic problem, I try to take a step back and redo the previous step. After drawing it by hand, the sculptural elements all seem to have much more life and energy now! I highly recommend you trying this step if you feel like your renderings look too stiff as well.
Step 5) Lineart Integration: Here I'm starting to integrate the new handsketch into POV illustration, and scaling everything so it makes sense with the ride manufacturer specifications. While looking at videos of the Wave Swinger ride, I noticed that the main column must be able to contract up and down, and the top must be able to rotate and tilt. During the design phase, it's important to take into account of the technical requirements and create solutions so it blends seamlessly.
Step 6) Color Flats: Now that the lineart is complete, I can finally start adding color flats. I think it's convenient to do colors as a flat layer and shadows and highlights separately, because I will often need to call-out Pantone colors for the Scenic Fabrication vendor. Here I'm making bold color choices while paying attention to color harmony so it doesn't overwhelm the theme park guest.
Step 7) Shadows, Ambient Occlusion and Highlights: Finally I do the shadows and highlights. It's important that I don't do this indiscriminately. I must pick and choose where I insert detail so I can direct where I want the viewer to look. I pick the dragon as the focal point and try to maximize detail in that area, while creating subtle lines of motion to direct the viewer's eye toward that area.
Thank you so much for checking out my concept art tutorial. I hope you were able to learn something from this - or just inspired by the process. I'm all about learning, hard work and constant growth. If you would like to learn more about my process and get better at concept art, I now offer a private 1-1 art tutoring! Go to this link for more info! ( -chien.com/classes.html)
One thing you hear quite often about the NFL is that it's a copycat League. Well, it's become somewhat of a clich, and there is a reason for that. It has everything to do with how concepts get borrowed from, copied and reused along the way. But one of the key elements of each team's research into plays is not just to copy what they see on tape, but to understand the science behind each play to make it their own.
As the game and its rules have evolved, so have the schemes themselves. So today we'll be looking at the history of a popular quick game concept commonly known as the dragon concept. And we'll take a journey across four decades to see how NFL passing attacks have evolved this West Coast offense concept, its teaching points, and its progressions from its early beginnings as a mirrored play and split back sets to modern day versions that involve up to five receivers in a non-mirrored play design.
Herbert opens in an empty set with three receivers to the left and two at the bottom, and then brings his back in motion. And so, Herbert with a quick game is going to take a very tight three step drop, there'll be a drag by number two receiver and a slam by number one receiver, with the drag going to get to a depth of three yards as it gets width to the boundary. Versus free access, the wide receiver is going to take three steps and run a slant at 45-degree angle or flatter depending on the alignment of the corner.
On the backside, the concept of spacing, where the number one receiver is going to run a hook route at six and the number two receiver is going to sit down over the ball at five yards. With the back running a wide, the play is called for 3 deep zone and that's exactly what the Eagles give Herbert. In fact, it's better than that, because the Eagles are playing a rush. So, they're rushing five at the line of scrimmage, and so they're vacating one of the zones below which makes the play even more viable.
While he's looking left, he's buying time for his spacing runners to get ready to take the ball. And it's extremely important that they explode off the ball and get to their final positions. Allen should be in that on the hashmark area with his adjacent receiver at six yards just outside the hash, so there is good spacing to the backside and then the back will run the wide to create horizontal spacing at the bottom of the screen. This is a progression read horizontally across the field. If the flat had been covered, he would work the slant. If he doesn't like it, he will reset and hitch up to the receiver over the ball or the hook receiver releasing vertically adjacent to him. Then finally finish with the wide. A progression read for Justin Herbert, and he takes number one to the flat.
Let's go back to 1995, before spacing became into existence, split right formation with running backs with their hands down in a three-point stance. At the top of the screen, the tight end running the drag, the wide receiver running the slant at the bottom of the screen, the wide receiver running the slant and the back, running the drag with the blocking back checking through and getting over the ball. The difference between then and now is the quarterback had to pick the best luck side. With the safety dropping down in 3 deep zone coverage, the quarterback has elected to work the bottom of the screen and either work the running back on the flat or the wide receiver on the slam to the short side. Once he starts to one side his only available flare control would be the back over the ball. You can see here that the 49ers are lined up in a two tight end set with two wide receivers on either side of the formation, John Taylor at the bottom and Jerry Rice at the top. Instead of having spacing on one of the sides of the formation, the 49ers have what we call a mirrored route, where drag and slants are on both sides of the field.
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