preferencing analogue technology and large forms that communicate their operation.using colour to highlight essential items and different interaction types.prioritising the playable space and interactive objects over unnecessary detail or clutter.Our main considerations in translating this style across to Heavenly Bodies were: Once we’d encapsulated these properties in real-time 3d on smaller objects, we were keen to apply them to larger, playable environments. The results of our initial experiments are below, and we felt they were an early step in the right direction. texture support for hand painted details. ![]() ability to control the roughness of an object.grain that feels relative to the scale of the objects in the scene.the ability to replicate illustrative techniques such as hatching and stippling.high contrast between highlights, mid-tones and shadows with little blending in between.The key features we wanted to include were: To reproduce this bold, graphical and analogue aesthetic, we first analysed what it was that we needed to effectively reproduce in an interactive, real-time context. NASA Capturing illustrative qualities in a real-time context ![]() Image credit: Artwork by Russ Arasmith, Date Unknown. The work of Soviet architect and designer Galina Balashova and NASA collaborator illustrator Russ Arasmith has been vital in informing our visual language. Our goal has been to create something that appears more like an artist’s interpretation of space rather than striving for realism. ![]() The game’s visual style is influenced by mid-century technical illustrations, archival imagery of early space flight exploration and cutaway drawings that allow the viewer to see detailed structures. To celebrate the game being so close to release, we thought we’d dive into the reference that inspired us and how Heavenly Bodies came to look the way it does. Previously, we’ve written about how the game feels to play and what you’ll be doing out there in space.
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