Colour Palette

I’ve decided to put this part of the project into the Situation Cards section, however, colour palette is obviously the same for each and every part of the game, including packaging and rules.
Colour Palette was one of the first things I’ve done in the project. I needed something to start with and setting the mood is always good with a colour palette. 
So, I went out on the Pinterest colour palettes and chose around 50 different small palettes that seemed in the mood of dreams and reality. With those palettes,  I’ve moved to ProCreate, and after a long process of remixing different colour combinations, I got two that seemed the best.
And after that process, I had two colour palettes to try. One was a more generic warm palette, the other was colder, but had more atmosphere in it. I showed both of them to my friends, and they chose the colder one. The reason for that was that the colder palette looks more specific and more dreamlike, which is what I need for the game. And even though I like the warmer palette much more, I agree that the cold suits my needs better.I have also tried both of them and did tiny colour blob sketches (you can see them in a gallery if you click on the picture) just to test how they would look on the image. The colder one seemed to have more harmony in it. Though I was struggling to imagine working without orange colours. 
At the end of the project, the palette is one of the things that I never regretted during the working process. Sometimes it was only the palette that kept me going with the pictures and gave me ideas on what to draw. I am so happy with the final palette of the game and with how much mood and atmosphere it provides. It gave me all the freedom of balancing those colours differently to get very different images. However, at the same time, they all are still united by the palette.

Big Picture

For quite some time in February, while designing the character, I was also planning Situation Cards. They are the most time-consuming part of the project, as they involved a lot of drawing and a lot of sketching. At that time I thought that maybe I can save some time by creating a big picture around A0 size and later cutting out smaller bits of the size of cards I need. 
I thought that a city might be the most suitable way to represent most of my dream references. The city gave me both indoors and outdoors, transport, architecture and more. I’ve tried to build a city out of collage pieces at first, but it didn’t work. So I went on with fully digital planning.
I did a sketch of a city at first, then went on with adding people and situations. And at the same time, I was doing the cutting planning, sort of transferring the image to InDesign and trying to crop it into smaller pictures.
Unfortunately, planning of this picture and time spent on this proved to be ineffective for multiple reasons. Planning a super detailed A2 (at least) picture on a screen format was hard and required a lot of minor, but time-consuming changes. I didn’t want to plan them separately, but in the end, I still would have to. I had to transfer the images between computer and iPad trying to find future close up and see how detailed those sketches are and are they detailed enough. Also, as it was my first ever attempt to try and draw such a detailed picture on a small screen, I spent too much time planning even basic bits.

I didn’t proceed to details, because on a tutorial Ksenia gave me another idea how to create those pictures and have them less detailed.

Situational Approach

After the tutorial with Ksenia, I’ve changed my approach towards situation cards. From making it one big picture crowded with people, I shifted towards more “situational approach”. So, instead of adding a lot of details to the pictures, I’ve decided to show different situations. They happened to be less bizarre than I imagined, but still a bit odd, surreal.
Ksenia suggested choosing situations, that can equally happen in reality and in dreams, instead of just filling the picture with weird details.
Taking this as a starting point, I wrote down a list of dream situations from my collection and started thinking, which of them can suit.
It was mostly a process of planning, understanding which feeling the situations provoke and how can they be interpreted within a dream and in reality.
So, after taking some situations out of my original list, I proceeded with sketches.
And then I took those small sketches to digital, creating kind of final sketches with different situations. Some of them are illegible now, but they are essential for me to plan and understand. I know they might change a lot after I start drawing them, but it is crucial to have them now to know what I am working with and how much work is to be done. This is also a gallery, so just click on the arrow. 
I ended up not doing all 12 of them, though after the final playtest I know that I will probably finish the 4 I haven’t done. Three of those four are actually the least successful sketches, so I don’t regret not making them. But the one with the leg was initially my favourite. Though, I had to give up things that didn’t fit into the timeframe I had. And I believe it is better to have 8 good cards than 12 of bad or medium quality.

Visual Development

Well, there is not so much about the process of drawing that I can reflect on. However, there were several important moments in creating visuals.
First one was the importance of keeping up with the 50’s style and reference not only the clothes and hair but also the furniture and designs. It is evident with the first Situation Cards I’ve done, that as soon as I use actual 50’s references, the picture becomes more interesting. I kept using references from the ’50s in all the other cards of the game. Around 70% of the objects I drew were inspired and influenced by the object from that period. It also adds to the visual consistency of the game.
There was also a process of making this funny character. I honestly like her evolution, and I think this evolution just inspired the whole project from that point.


Some changes happened to the cards after tutorials with Bill and Chris. And for those cards, the changes actually played a significant role in the final playtest, and I am immensely happy that I’ve made them.

Final Artworks

These are all the Final Situation Cards. I can see the progress I’ve made in drawing from the first to the last one. But I can also see the consistency of the style and colour palette, I can see similar shapes and viewpoints. I see those cards as more successful than I’ve expected. I spent a lot of time making them, and it was a long, tedious, but sometimes very immersive process. Some of the original sketched were changed completely, some got minor changes, but I regret none of those changes, and I am quite satisfied with the final result. Though I still find funny how cards from 3 to 5 are more depressing in the colour combination and how they are sort of showing the lockdown process. Though I did get back to a more positive combination, I think this contrast between them is good for the game and can give players more points to raise in the discussion.