Ubigallery_DDimanlig

UbiGallery_DDimanlig Game Art & Design Portfolio by Mac Doninri L. Dimanlig for Ubisoft Toronto - 2014 dondimanlig@yahoo.com

INDEX COVER ART- (Go!) INDEX - (Axonometric Hand Drafting) I. CONCEPT ART - (Under Same Skies)

1.1 The Impoverished - Train Surfing & Other Games

1.2 The Impoverished - Storm on the Slum

1.3 The Impoverished - Squatter Demolition

1.4 Architects - Architron22 Head

1.5 Architects - Control Scheme II. ILLUSTRATION - (Archifiction)

2.1 The Mind

2.2 Tiles: In the Eyes of Children

2.3 Pyrokrieg Unit

2.4 Paper World III. PERSONAL - (I Can Finally Draw in Ink - Page 1)

3.1 Assured Destruction Book Series - Cover Arts

3.2 The Gates - Render

3.3 Glacierport_01 - Comic Page Samples

3.4 Glacierport_01 - Render BIOGRAPHY - (iRestart) FINALE - (Gothic-Industrial)

I. CONCEPT ART

This section includes new ideas for videogames: “The Impoverished” - a game of life, poverty, and survival, “Architects” - a collaboration of virtual reality and real-time 3D modelling editing. This section also includes my various existing art to supplement ideas.

(Background: “Under Same Skies” 2008)

“Train Surfing” Ink + Digital 2014

THE IMPOVERISHED My idea of a successful game is a new unique idea mixed with the familiarity of existing formulas.

I have not seen many games where you live the life of The Impoverished. In a world where we are flooded by games that give us power, I like the idea of power being taken away from the player for a change. It is a subject that isn’t usually portrayed in a game. With more mature themes showing up in the industry, I believe a game about the survival in poverty would work - and would expose a lot of gamers to lives that they don’t know much about.

Here, we see the joys of living a simple, carefree life. These kids are just trying to get by: often mixing play with danger, mischief and petty crime.

Gameplay possibilities: + Train Roof Surfing + Pickpocketting + Street ball

“Storm in the Slum” Ink + Digital 2014

THE IMPOVERISHED (continued) As the player grows, or uses an adult character, the themes change, as more responsibility is given to the player.

Why would anyone want to play to suffer?

Because games shouldn’t be difficult for the sake of being difficult - it haas to be grounded with some reality - some reason why it is hard. What would drive a parent to commit crime? To steal in order to provide? these story elements will dictate what the player can do in his/her struggle. The players must feel that the comfort and priveledges that other games give them is long gone.

Here we see a mother carrying her family.

Eventually, all her children can have gameplay advantages. Children can be the sneaky spy, be the agile messenger, or be traded to other families (story arc when the child comes back as an adult) Gameplay possibilities: + Cart Inventory + Family Health & Sickness + Salvage Diving

“Demolition Riot�

Ink + Digital 2014

THE IMPOVERISHED (continued) Once the player has created for himself / herself a nice home or safehouse, he can enjoy the fruits of his labor - legal and otherwise.

Just as he/she gets comfortable, is when the game truly shows you what it is like to live the life of The Impoverished.

Government forces evict entire shanty towns with violent force. The player (possibly even with other players) must defend their slum. However, this is not your usual riot - these are poor people, not armed gangs. Your weapons are all makeshift, and your strategy, less-thantactical.

Here we see a young man equipping himself with whatever he can pickup to stall the demolition crew as he tries to help his friends Gameplay possibilities: + Town Defense + Action / Beat-em-up + Survival

ARCHITECTS Having education in architecture, special interest in technology, and overall addiction to science fiction, I have come up with this game concept.

A cooperative game pushing the bounderies of seamless creation-and-operation.

Imagine a game where Player 1’s adventure is designed / created / manipulated / assisted by Player 2.

Sound Familiar?

Now imagine that in Real-time, Player 1 jumps the gap but he doesn’t jump far enough!

Player 2 builds a landing platform just in time!

Arkitron 22 (head) Ink 2011

PLAYER 1 VR GOGGLES MOTION GUN UNI TREADMILL PLAYER 1 SEES INCOMING MISSLE, COVER NOT BIG ENOUGH

PLAYER 2 HEADSET 3D MODEL PROGRAM DRAWING TOOLS PLAYER 2 HEARS BACKUP REQUEST, BUILDS BIGGER WALL

II. ILLUSTRATION

This section includes more independent ideas and art with more specific subjects. Most of these explore detailing and different techniques in medium, ranging from casual to competition artworks.

(Background: “Archifiction� 2012)

“The Mind” Ink on 33x22” Paper 2013 The Mind is my entry for the Murray & Murray Drawing Competition 2013 (a.k.a. The Director’s Project) - an annual drawing contest in Carleton University’s Azrieli School of Architecture and Urbanism - open to all students from undergraduate to masters degree levels The theme for 2013 was “A House for a Pencil”.

I immediately envisioned that the home of a pencil and what it can create is The Mind.

Here The Mind recreates itself: Sitting at his/her brain station, The Architect draws and designs a bigger brain over the horizon - built by his pencils controlling their bigger counterparts.

Murray Murray Competition Award History: 2013 - 1st Place “The Mind” 2012 - 1st Place tied “Archifiction” 2011 - 2nd Place tied “Architron 22” 2009 - 1st Place “Carleton Beacon”

“Tiles: In the Eyes of Children” Markers on 8.5x11” Paper (rearranged to fit the horizontal layout) 2009

My goal in “Tiles” is to depict an experience where everyone can relate with - no matter how childish.

I wanted to show the mental game we play whenever we all play whenever there are tile patterns, usually where the floor is lava - or a bottomless pit.

“Pyrokrieg Unit” Ink on card & paper 2007 Pyrokrieg Unit is a conceptual design for a comic book idea I had with my friend in highschool. In World War III, the remaining experimental military weapons were utilized in a battle to search for the receipients of the blood transfused from the Führer himself. The Pyrokrieg is one of the NeoNazi’smilitary units. Part corpse, part flamethrower, it is a frantic terror weapon.

Disclaimer: The Nazi Swastika and other symbolism are mainly for art and concept’s sake - and does not reflect my political beliefs. This is the final version of the unit after having designed about 6 iterations.

The second image is an exercise on redrawing a character with a different pose and retaining detail accuracy and consistency.

“P-B4: Paper World” Pencil on 8.5x11” Paper 2009

A Boy fishing for ideas in his Paper World Could be used for virtual reality game.

Skies on the paper on the ceiling, Plains on the papers on the floor, A void where there is no paper.

III. PERSONAL

This section includes architecture schoolwork and freelance artist work, and everything in between.

(Background: “I Can Finally Draw In Ink - Page 1� 2009) (The final project for the 1st year drawing class required a comic narrative of a day-in-the-life of an architecture student. This was the first time in the semester we were allowed to use ink instead of pencil. This is panel 1 of the 1st page of a 20 page comic)

“Assured Destruction” Book Series Cover Art Print and eBook 2012-2013-2014

The “Assured Destruction” series is written by Canadian author, Michael F. Stewart. In the series, Jan face the difficulties of a teen, and a hacker - and the moral choices involved. Creating these covers taught me how to be versatile with design, combining what the client wants and your vision, creating variations, depicting character consistency and learning to foresee sequel cover designs.

“The Gates” - Aerial View Render Digital Rendering - 3D Model 2013

This was my project for 2013 Fall Semester of my 4th year in architecture school. The Gates - Ottawa’s Immigrant Residence and Cultural Integration Center capitalizes on one of Canada’s strengths - its multiculturalism. In one of my biggest designs yet, I have learned how to 3D Model a more advanced and cohesive building; planning what the overall skeleton structure, down to the shapes of the roof anchors, while carefully checking what the user sees in each area: much like what the player will see in each game level.

“Glacierport_01 - Comic Samples�

Ink + Digital 2014

Glacierport_01 was my 2014 Winter Term project. Because I have created a facility that is 2.6 Km long, a narrative approach was utilized. It was presented as a 60 page comic book showing the origins, plans, elevations, sections, views and philosophies of the spaces.

“Glacierport_01” Digital Render + 3D Model 2014 The studio project required us to build architecture that is designed for a specific Canadian Industry. We were allowed to create fictional industries, so I made the Counter-Global-Warming Iceberg manufacturing industry. I have always wanted to design factories and other industrial architecture (more than houses) so this was a real fun and challenging project.

This is facility is also where the Glacierport_01 comic takes place. The comic’s story was designed to showcase the architecture and the architecture was also modified to fit the story. As terrorists seize control of the facility with the architect hostaged, the daring rescue reveals the building’s features and weaknesses - all the while questioning it’s purpose and true potential. The project taught me a lot about overall planning design - how a person (terrorist, SWAT, or architect) or water can navigate and interact with each other and with the architecture (or the video game level)

“P-B5: iRestart” Ink on 8.5x11” Paper 2009

DRAW IT! OWN IT! DON DIMANLIG - ARTIST BIOGRAPHY & WALL OF TEXT Born in 1990 in the Philippines, Don grew up in a house in front of a cathedral - one of the first things he drew, on a small paper on the wooden living room floor. As a child, he was praised whenever he took an unconventional way of drawing items for Pictionary. Back before the internet was accessible, the only way to re-live movies was for him to remember details from the film, and retain it in his head until he finally gets home from the theatre, and put it down on paper. Before he had a camera, when his mother brings him to the mall and he’s told he couldn’t get the toy he wanted, he stares at toys - takes in mentally as much as he can - and draws it at home. He believed that once he drew it, he owned it.

In elementary school, Don tried his best to do well in school, and often excelled. It was a fun time because he can just draw all day. He was considered the artist by his peers. He started entering local drawing competitions and even made it to editorial cartooning nationals. Near the end of highschool, he had become proficient in comic book drawing - from depicting classmates fighting superheroes, to full-length autobiographical ones. But Don specialized in technical drafting. It was the best choice within what is offered in his technical school, and he graduated as the best draftsman.

Back when the only way to get a degree and still draw was to be an architect, (not comic artist or a game artist) he went to university for architecture - but for only a year because his family had to immigrate to Canada shortly after. In 2008, he arrived in Canada and looked to continue his education but he was too late to apply. He could either work ‘til the next architecture school year, apply for animation school, or go back to highschool. He chose to experience high school. Life is challenging and different now. He always thought Canada felt like a new videogame: unknown location, new characters, empty safe house, scarce inventory, and barely any money, but Don needed to play this new game.

He worked his way up, from grocery store clerk, freelance art and tattoo designer, newspaper cartoonist, graphics editor and architectural intern. These jobs helped him throughout university life - paying for school, and paying for games. He always considered being able to afford legal copies of video games a step-up in his life. It’s a big difference from living from the third world, to the first. His re-immersion with video games and the recent developments in the industry made the electronic entertainment career still very appealing. He found peace in working long hours, drawing at school. He’d rather draw than anything else. Still, he balanced them all: Architecture, Comics, Video Game Art, thinking that he shouldn’t panic about life, just draw, and take opportunities as they come.

Don just finished his architecture undergraduate - proud and happy that he literally drew his way to a degree.

A few weeks ago, he made a joke remark to his friends about possibly working at Ubisoft, (yeah right).

Five days ago, a friend showed him the UbiGallery competition. Don’s new mission begins!

“P-B1: Gothic-Industrial” Ink on 8.5x11” Paper 2008

MAC DONINRI L. DIMANLIG “DON DIMANLIG” / “MACDONINRI”

EMAIL: dondimanlig@yahoo.com PORTFOLIO: dondimanlig.daportfolio.com

Thanks, Ubisoft Toronto!

UbiGallery_ DDimanlig