These Marketing and User Acquisition creatives were made by Colin Adams for PLAYCO, PLAYSTUDIOS and GSN Games.
Because of the nature of marketing art for games, most elements of these designs contain assets that were not created by me.
LINE game ads for Trip Royale and Street Royale (Japan)
Adapted from a static image : I created the animation (including painting the arm in different positions) for an email campaign.
Archer Madness and Ask Away
For the Thug Life game, we had a lot of success using ad creatives with silhouette elements.
UA images for TriPeaks Solitaire
We needed a general image for PLAYSTUDIOS social pages (LinkedIn, Glassdoor, Twitter) that represented our office culture. I created this Knolling image by having each object photographed, and then cut apart and assembled into the various formats.
This design was for a sponsorship of a wedge on the Wheel of Fortune game show. The logo for the game Wheel of Fortune Slots: The Ultimate Collection had to be simplified, and the mobile and slot elements had to come through first.
I led the initiative to redesign PLAYSTUDIOS corporate logo. It wasn’t very clean or versatile, and the resulting logo solved all of the issues. It is now the official corporate logo.
Level 4 of a beach volleyball item
Vector illustration from a photo. This was made by manually adjusting gradients on each shape, no gradient meshes.
Penny & Drew’s Pencil Tips activity book
Levels 3 and 4 of an upgraded bowling alley
Fruit label
Vector design based on a photo
Made in parts for an animated dunk sequence
PLAYSTUDIOS needed a more rendered version of the flat logo to use in various places, including printed four feet tall for the corporate office. I created the polished version in vector, including a transparent inner drop shadow that was not an effect, so it could scale up.
Pitching games to clients required a lot of rapid concept work, gameplay examples, and finished splash screens. As Art Director of a small studio like Fifth Column Games, we had to constantly create new game designs, which allowed us to rapidly visualize many types of games.
Cleaned up photos, with device parts completely rebuilt in Illustrator and Photoshop.
One Clone Trooper was photographed in multiple poses, to composite into the scene.
We needed a general image for PLAYSTUDIOS social pages (LinkedIn, Glassdoor, Twitter) that represented our office culture. I created this Knolling image by having each object photographed on white, and then cut apart the objects and shadows, and assembled into various compositions.
Storyboard prep for a film shoot that was done for PLAYSTUDIOS.
Isometric games have worlds where there is a fixed down perspective, allowing the world to be built in a perspective that is actually made of a parallel shapes that fit together.
This is an archive of illustration work, all completed over ten years ago when I worked as a freelance illustrator. I include these as examples of a skillset, but it does not necessarily represent my current work.
Ink and digital
Acrylic on illustration board
Vector illustration
Ink and digital
Ink and digital
Ink and digital
Digital illustration
Ink and digital
Ink and digital
Ink and digital
Vector illustration
acrylic on cardboard
Ink and digital
acrylic on cardboard
digital illustration
digital illustration
War of Omens is a browser based deck-builder CCG. The cards existed in a 3D world, and had particles and movement to aid in intuitive gameplay. Every one of the 200 cards from the four factions was illustrated in-house. I was the artist for the Vespitole Faction, as well as the Endazu inscriptions cards.
Illustrations by Colin Adams.
One of the main characters in War of Omens. The Vespitole Family was based on the Medici family of Florence, wealthy and corrupt, with lots of political power and their own army.
The Endazu were envisioned as a reclusive group of powerful magic users with a North African cultural feel. Highly educated and residing in their elaborately decorated citadel, they honed their arcane arts far from the troubles of the ordinary world.
The mysterious Goetia were creatures of the desert, that traded powers for life.
A holy warrior, enforcer for the church.
The last guy you would want to borrow money from.
This was used in the motion graphic animatic used in an intro.
Most of these gun and target images were made for Top Shot: The Game. The History Channel show had a very savvy audience of gun enthusiasts, so I had to make the guns re-load and function just like the real ones. All assets were made in 2D, first as their basic shapes and parts in Adobe Illustrator as vector images, and then brought in to Adobe Photoshop to get roughed up and scratched, and to paint non-machined parts like wood grain and subtle shines.
