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Ronin Round Table: The Art of Art Direction

beastfolk

By Hal Mangold

Today’s Ronin Round Table draws back the curtain on some of the behind-the-scenes parts of creating our products. Art is an essential part of the look and feel of most games, and it’s the role of the art director (that’s me) to make sure all that art gets created. To give you all a little insight into the job, we’re going to answer a few common questions about what being an art director is all about.  

What does the art director do?

As the art director, my responsibility is to make sure that all of the art that goes into Green Ronin’s games and publications is up to the standard we’ve tried to set over the years. I select the artists, assign and approve the art, and herd cats to make sure it all comes into our hands by the deadline necessary for publication.  

How does the art direction process work?

It all starts for me with scouting out the artists who have the right style to fit the project. Games like Mutants & Masterminds have a radically different art style than Dragon Age or A Song of Ice & Fire. I contact the artists I want on the project, see if they are available during the timeframe I need them, and get them contracted if they’re interested in working on the project. Ideally, this is done about 4-5 months ahead of time, but circumstances often compress this a bit.  

The art order or brief comes next. This is a description or set of descriptions for the piece of art needed for the product. These can be written either by me or, more often, by the developer of the product, with my role being more to tweak or jazz up those basic descriptions. Sometimes the descriptions are general, sometimes really specific, and different artists work well with each type. In general, I try to art direct with a light touch when I can. I’m hiring the artist for their talents and inspiration, after all. I try to give them as much room to improvise as I can.   

The next step is to take that art order transfer it to the artist or artists. For a cover piece, this part is simple. For interior work with multiple artists, it’s a bit more involved of a process. The art assignments get broken up between the artists, taking into consideration both spreading the artists throughout the book for a unified look, and assigning the right pieces to the right artists based on their relative strengths.

Next the artists submit their sketches for the assignments. I review them to make sure the composition is as strong as it should be, that the basic look is right, that any characters depicted have the correct look, and so on. If revised sketches are needed, the artist submits them, and once everyone is happy with where the piece are going, the artist takes the piece to its final state.

If the project is for a licensed property, there’s one extra step: approval by the licensor. Most licensors require us to submit all of the original art we commission to them so they can make sure it depicts their world and characters properly. Some licensors want to see sketches, and some just care about the final result.

There was a time when there was another step: the artists physically shipping their work to us for scanning. Fortunately almost all artists today (even those working in non-digital mediums) submit digital files. Considering the international nature of the artists we work with, that’s especially fortunate today, with international shipping costs being what they are.  

Once all the art is approved, the art director gives it a look to ensure it’s in the proper color and file format, and that it will reproduce properly when actually printed. After that, the image file is handed off to layout for insertion into the product. The art director’s work is done.

Where do you find artists?

Anywhere and everywhere! The Internet is a fantastic source, of course. Sites like DeviantArt, Artstation and DrawCrowd give artists a place to put their portfolios, and I browse around on them quite often. Sites like Tumblr and Pinterest are also fantastic art resources, both for finding new artists, and building “mood boards” for how I want a particular project to look. It sometimes takes a little internet detective work to find out who created an image found that way, however. Not everyone is great about tagging sources for what they post.

Conventions are another great source for artists. Whether it’s a comic, gaming, anime or just overall sci-fi show, I always keep an eye out for creators whose style might work with one of our games. If we’re actually displaying at a show (like GenCon, for instance), portfolio reviews are another great source for me.

And finally, email submissions come in all the time, and have provided me with some great people I might not have noticed before.

Can I submit my art to Green Ronin?

Absolutely! Anyone is welcome to submit their work (or a link to an online portfolio, preferably), to art@greenronin.com.

Ronin Round Table: Let’s Get Cosmic

Cosmic Handbook (Not final cover)

Cosmic Handbook


The Cosmic Handbook has been a popular product even before it was on the list of books we were working on. Fans have been asking for it since the second edition of Mutants & Masterminds, so at some point in the last few years, we added it to the schedule, wrote it, and are in the midst of preparing it for release!

This is the book you want if you’re planning to expand the scope of your game into the wider galaxy, leaving Earth-Prime behind to explore the wild frontier created after Star-Khan’s forces flooded in to fill the vacuum created by the destruction of Magna-Lor at the hands of Collapsar. It’s also the book you want if you’re running a series in your own setting, because it features an overview of cosmic stories and heroes, tips on creating super-powerful cosmic characters, along with sample archetypes, new equipment and vehicles, rules options to help you adapt to things like the vast ranges characters have to contend with in space, and information for the GM on how to run a game that’s exciting, challenging, and fun.

The Cosmic Handbook will help you run games in which your heroes have to deal with interstellar wars, face down cosmic elders, explore unknown space in their very own spaceship, act as galactic guardians (in case you’re into that sort of thing), and even play games set on alien worlds or in the far-flung, space-faring future.

Ray-Gun Hero

Ray-Gun Hero


We wanted to make sure the book covered as many different cosmic comic book character types, adventures, and settings as we could. We roped James Dawsey, Steve Kenson, Christopher McGlothlin, and Jack Norris into writing it and they really delivered.

Cosmic heroes run the range from power level 8 at the low end, for sword-and-planet style characters and progress all the way to power level 14 (or higher). We recommend starting at power level 12, a step up from standard PL10 M&M games, so characters are able to bring some serious power to bear when they need it.

The hero archetypes included in the book are: the Ray-Gun Hero, the Star Hero, the Cosmic Corsair, the Space Knight, the Cosmic Critter, the Galactic Peace Officer, the Space Demigod, the Space Soldier, and the Strange Visitor. There’s also a number of alien templates you can use to create your own coldly logical aliens, group-minds, insectoids, plant-like aliens, and many more.

As for the forces the heroes fight against, there’s a section that discusses popular cosmic-level plotlines and how to put them together, from alien invasions to ancient mysteries. Then there are the bad guys themselves, who get their own list of archetypes, including the Alien Supermind, the Avatar of Destruction, the Imperial Champion, the Space Dragon, the Devourer, the Galactic Tough Guy, the Renegade Space Cop, the Star Hunter, the Time Master, and multiple variations on each. Plus a selection of minions for your alien invaders.

And that’s just the first half of the book! After that we cover the cosmos as it exists in the Earth-Prime universe, including information on how things have changed since the appearance of Tellax the Redeemer (in Emerald City Knights) and the coming of Collapsar. These events have had a significant impact on the galactic civilization and have turned the galaxy into a wild frontier, ripe for your players’ heroes to make names for themselves.

As you can see, the art for the book is looking great and we can’t wait to show you the final table of contents and some other bits as previews in the coming weeks. Start thinking up some cosmic plotlines and get your friends ready for a high-powered, cosmic, super series!

Nanotech

Nanotech

Alien Supermind

Alien Supermind

Star Hero

Star Hero