League Of Legends Splash Art
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League Of Legends Splash Art
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Video games are more popular now than they have ever been before. There are all types of consoles, genres, and player modes today, and there is a game for everyone! What might attract someone to a video game might be graphics, engine quality, or lore. Some games have astonishing character design and game art that it instantly catches the eye of the viewer. League of Legends is one of those games that uses well illustrated character splash art to promote the games reputation, business, and play experience. League of Legends has many different artist they commission for their splash art and the one I want to highlight today is Alvin Lee .
Alvin Lee is one of the many illustrators that League of Legends works with. His work can be identified by the exaggerated forced perspective that he implements into the characters of the video game. Alvin will either sketch a concept of the splash art on paper or on a computer drawing program and then digitally trace over the sketch to create the line art. Corrections are made if need and coloring, shading, and highlight follow after. The characters are almost always set in a background that matches the mood, and lore of the character.
The digital illustrations he does are in a resolution that fits the computer screen well enough to be used as wallpapers. The splash is very pleasing to examine and it is one of the made reasons players will purchase the character designs. I love the way he presents his characters in their environment it feels so natural to me. I hope guys enjoyed learning about this artist!
Nadia Lipperini The Artist, Nadia Lipperini Name: Nadia Lipperini Graduation year & Degree: 2021, Bachelor of Fine Arts Major: Graphic Design Current Occupation: Art Instructor for people with intellectual disabilities at Artworks NEPA Duration of current job: Over a year Facebook: NadLip Art Instagram: @NadLipArt Artworks NEPA Instagram: @artworksnepa What…
Nailea Meneses Name: Nailea Meneses Graduation Year & Degree: 2015 BFA Major: Graphic Design Current Occupation: Creative Director at Infographic World How long at current job: 7 years Website: https://www.lealostdesign.com/ Instagram: @lea_lost What was your favorite part about studying art at Marywood? My favorite part about Marywood and my time…
As I’m sure many people are aware, to create art one does not necessarily need traditional tools. My whole life, I put myself in this artistic box and only let myself create what I thought I was ‘allowed’ or ‘expected’ to create. I have been a creative person for as…
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Before a drop of digital ink hits the canvas, splash artists often take pictures to reference
Reference pictures are the unsung heroes behind every splash art, used for inspiration while never seeing the spotlight… until now.
Victor “3rdColossus” Maury: That’s one of the pictures I took while working on the Beast Hunter splash. It’s one of my favorite reference images—I could instantly picture the final splash art when he made that scrunched up face. It was just so Draven. Every artist on the splash team has entire folders filled with pictures like this.
Joshua “HUGEnFAST” Smith: Reference images are kind of like research to figure out what something is supposed to look like. Sometimes, you can get by just with just a Google search, but other times, there’s a very specific thing, like a facial expression worthy of Draven, that you can’t find a good reference for, so you just make it yourself.
HUGEnFAST: Not always, but we should. If you ever need to figure out how something works, the easiest thing to do is pull out your phone, grab a room, and start snapping selfies.
3rdColossus: What you’re seeing is just one picture, but we often take like twenty slightly different ones to figure out what looks the best before we even start drawing. You can waste a lot of time on a drawing that doesn’t work, but photos provide a quick proof-of-concept and allow for a ton of variety and fun camera angles really fast.
HUGEnFAST: In my phone, I probably have like a hundred photos of my hand because I’m not exactly sure what’ll work best. I take a bunch with slightly different angles and slightly different poses and then pick the one that fits.
3rdColossus: A big reason our images tend to stand out is because they’re informed from real life. It can be tempting to make everything up, but if you want to make these crazy characters still feel anchored to reality, you have to add that one moment of believability.
HUGEnFAST: And to make it believable, sometimes we have to mess around in real life, like, ‘Wait, how do hands work again?’”
HUGEnFAST: Reference pictures have been important to painters since… forever.
3rdColossus: Basically, since photography was invented.
HUGEnFAST: Yeah, and even before that, it was life. Renaissance painters would hire a bunch of models to stand exactly how they wanted, for hours on end, and then they’d literally just copy them. We definitely didn’t create a new technique here—it’s more like a bridge between traditional painting and the crazy, digital art we make today.
HUGEnFAST: Usually, but more generally, the goal is to build understanding. Like for Pool Party Leona, we went out and bought an orange umbrella. When we got back, we took some pictures and realized that light filtered through the umbrella tints everything slightly orange. This little detail was a really important discovery for Chengwei “ KIllerPanda0007 ” Pan when he was painting, and I think it’s part of what makes the splash so unique.
3rdColossus: There’s also this weird phenomenon when you act something out where you empathize with the character you’re drawing. I know that sounds weird, but it leads you to certain decisions that make your drawing feel like the real thing that wouldn’t have necessarily occurred to you if you drew it without experiencing it.
HUGEnFAST: When I was crushing an orange for a Gangplank reference, I was thinking about my body language and my facial expression, inevitably inhabiting some of the mental space of the pirate. When mimicking a character’s gesture and emotion, you can gain new understanding about how their feelings would affect their pose.
3rdColossus: When you act as the character, you know where the weight is, where the tension is, where the relaxation is. When I took Warwick’s reference pictures, the way my hands spread on the ground helped me understand weight distribution, and I noticed little things like how my fingertips squished down. I learned a lot from posing for this picture, actually—firstly that this is a really awkward pose, and I am not a wolf, and my neck bones were not made for this. But it did help me find which angles felt appropriate for the limbs. If you’re inventing a pose, it’s really easy to draw something broken and never realize it. But as soon as you act it out, you’ll know, ‘Oh, my wrist doesn’t bend that way.
HUGEnFAST: In every splash, we strive to really understand what’s going on first. That’s ultimately what helps us convince other people that this character is real, and they’re actually feeling this way, and they don’t look derpy because they’re posed in a way that doesn’t make any sense. It’s all based in reality—you don’t have to just draw from your imagination.
3rdColossus: Sometimes, there’s this misconception about art that it’s magical and we’re just really talented, implying that it’s somehow inherent or easy for us, but it’s actually a lot of hard work, research, study, and trial-and-error. Good image-making, like anything else, can be learned. Lucky for us, most of the answers you could ever need are present in nature if you know where to look.
HUGEnFAST: The human body, and light, and color, are so complicated. It’s too much to keep in your head, even as a professional illustrator, and references help us create art that accurately reflects reality.
The following is a collection of reference photos taken by Riot’s splash artists.
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Burn them all! Burn them with fire!
Cursed League of Legends Splash Arts
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10. Teemo: This is what your sleep paralysis demon looks like. | © Riot Games
9. Annie: This one is a big 'oof' from me. Why is her head shaped like that? Why are her eyes squinting? | © Riot Games
8. Galio: But like... where did Galio's muscles go? Or rather... where did his muscle come from is he looked like this before? | © Riot Games
7. Sivir: Could you have guessed that... this person is supposed to be Sivir? Now it makes sense why some of her old skins look awful as well. | © Riot Games
6. Soraka: Soraka is a heavy hitter in the cursed department. Just... what is she even supposed to be? Why is her face shaped like that and why is the horn so big? None of it makes sense. | © Riot Games
5. Veigar: Not going to lie, but I feel like I can make a better splash art in micosoft paint. | © Riot Games
4. Heimderinger: Now the donger... what can we even say about him? His brain-hair is kind of cool... I guess? | © Riot Games
3. Riven: Not going to lie, but Riven looks like she's suffering from an eating disorder in this splash art. How does she even have energy to hold up that sword with those noodle arms? | © Riot Games
2. Miss Fortune: Her hat is so big, I'm surprised her neck didn't snap from the weight of it. OG splash arts really forced their champions into some unhealthy living conditions, eh? (and don't get me started on the body proportions...) | © Riot Games
1. Shaco!! No wait... Lux: Okay Lux, we get it you're like a 14-year-old little girl, but Riot did you dirty with how bad the make-up was done. She legit looks like a clown. | © Riot Games
League of Legends is over 10 years old already. Since it's inception in 2009, the game has accumulated over 155 champions and has had to rework quite a few of them. With reworks, visual and gameplay updates also come new splash arts, so we tend to forget the old, bad and ugly. But just to refresh everyone's mind, we've decided to bring back some of the old and cursed splash arts that we're so glad Riot has gotten rid of.
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