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Portfolio
Recent Works
My recent works, created during the most recent semester of my personal study time.
What I do
Visual Art, Game Design, Graphic Design, Concept Art, Content Creation, Story Telling
I am Gavin, much more well known by my Alias '10G', an artist with a knack for all things pixelated, and much much more.
I specialize in precise artforms, and designing game assets. I put a lot of study in the intricacies of the world, so that I may reflect the world in my work in familiar yet alien ways.
 This was an in-depth study on how reflective surfaces deflect light in particular ways, how light gets scattered or conducted through and on certain materials, and how things like surface imperfections like finger oil and scratches can interrupt the light patterns on reflective surfaces. |  Inspired by the works of Stephen Gammell,I wanted to make a spooky monster with charcoal black on white canvas. Although I love some haunting art every once in a while, the umbrella and kitten made it a particularly fun twist on the typical monster story. |  The prequel to Nature Reclaims the Giant. It was meant to complete the story of the giant somewhat. Although the minutia of the giant's entire life is unknown, the story of how he keeled upon his blade and took his last breath was told. The antithesis to the giant's bones creating a peaceful ecosystem, would be the giant's rage. |
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 This one was a bit of a challenge to myself. I've never done isometric perspective without isometric guidelines before, so I tried making an isometric drawing with no symmetry. guiding perspective lines to enforce the typical "isometric cubey" look, sort of like how Fallout 1 and 2 did it. It was a lot of fun to maintain real perspective, while also toying with just how I can convey depth in different ways with a fixed perspective. I also tried automating water for the first time. |  A mockup of a hypothetical game, in which you are a Lich emerging from your tomb, to see a fantasy post-apocalypse. It was heavily inspired by the Actraiser SNES game, which combined god-sim Civ style gameplay, with a Castlevania-style platforming level after each major area. |  Started as a mockup for a hypothetical platformer game, like Frogatto or Owl Boy. At the time, this style of incredibly detailed stones and landscapes eventually culminated into my modern style, and thus this piece is a corner stone of my development as an artist. |
 The Lorekeeper is a character of a larger story of mine. He's the narrator to a story that extends beyond time, an archivist of unfathomable knowledge. |  My common interests of space and cosmic horror, culminates in a lot of cosmic art. This piece is probably the best example of the kind of space I draw, typically being spectrographical in nature. |  Made as a final homage to the website piq, as I had left the community when adobe flash began to die. It references some of my favorite works I made on the site, and as such serves as my last gift to it. I regularly return just to see what it had become, but it will likely never be my home ever again. |
 Drawn entirely on stream to teach viewers how to assimilate techniques and styles from other artists. Although I can't recommend copying someone's work, replicating their techniques can help you discover and master techniques of your own. |  Mostly a study of how chiseled stone erodes over time, and how flora can utilize helpful nitrates that may be contained within the stones. The grand and mysterious structures in the distant background lead to the viewer asking more questions, which creates a feeling of intrigue and mystery. |  A social commentary piece, criticizing the illicit substance industry, and the addicts that fuel it. It was also a study of human faces, and a study of how light gets scattered through skin tissue. |
 Just an in-depth landscape showcasing a world of unimaginable whimsy. I like to convey whimsy through my art, and fantasy is my go-to way of doing that. |  Drawn entirely on stream in under 3 hours. It started as a joke, and ended as a testimony to my growth in efficienctly drawing. |  Meant to be a conceptual piece, combining some aspects of Japanese culture, with the concept of embracing death in defiance of the world itself. The folklore that sculpted the culture in Japan was centered around death, as they had countless bloody wars as the Japanese peoples progressed through the stages of civilization. These dark folk tales would likely come into play during the process of death, a sight I could only imagine fathoming. |
 I wanted to replicate the intricate techniques of Dmitry Deceiver, a pixel artist with a knack for grimy depictions of fantasy and fear. He uses cross-hatching in pixel art instead of dithering, which leads to a large variable of effects, creating incredibly interesting works. Using their work as a topic of study, I sought out to discover the techniques they pioneered. Although I didn't replicate their work, I found various methods that worked wonders for visual effect. |  My first big physical piece after a 2-year hiatus on ink art. Although the execution is not my best work, the concept behind it is one of my favorites. Heavily inspired by the works of Junji Ito, I wanted to invoke an existential fear within the viewer. The fear of insects is rather common, as their rapid movements and buzzing wings can induce panic in anyone. Although we have an evolutionary advantage of intelligence, the thought of being anything less than an apex predator is terrifying. |  A simple study on Hue Shifting, a technique that makes palettes look better in digital mediums. |
Games/Concept Art
Made as a sprite-making exercise by using a randomly selected palette to make a fantasy weapon. I liked it so much, I gave it the whole stat and lore balancing treatment.
An animation sprite sheet for a multi-segmented dragon serpent entity.
Food sprites following stat color motifs as ingredients, each being 8x8 prior to rendering.
Concept for a platformer game concept, where you play as a sentient box in a mail warehouse, sliding and jumping your way to the delivery chute.
This is my take on how Oryx's exalted form looked, from Realm of the Mad God.
A set of 8x8 items, based off a set of motifs determined before designing began.
A set of UI and combat elements for a game concept of mine.
Concept art of various characters as mockup videogame characters and NPCs.
Concept art for an experimental character design.
Credit of the original designs for many of Void Oryx's phases, which I modified and animated, goes to my good friend BIT-BOY / Sonhud. Certain assets created by the original rotmg Oryx 3 spriting team were re-used and modified in the sprite sheet for Void Oryx, most notably the sword and shield rune sprites, and Oryx Tornado animations.
Void Oryx
This boss for a videogame called "Realm of the Mad God" has been a personal project of mine for a long time. Although I didn't and do not currently develop the game, I saw it as an opportunity to create and design things within it. The game is known for its bullet-hell style gameplay, with bosses shooting so many projectiles, that the only way to survive is to dodge. It is an intricate dance of attacking the boss to progress the fight, but dodging bullets and projectiles to survive.
Each boss fight has its own tricks, and patterns, causing the player to always adapt to get ever closer to defeating it. It is a beautiful design philosophy that leads to some of the most engaging and rewarding gameplay out there.
Videogames can use these connections to their boss fights to convey emotions of intense magnitude. You can feel a crushing cosmic smallness, compared to the unfairly powerful boss. It can kill you if you make one mistake, yet it takes countless hits for you to even the score. Sometimes it just feels impossible, like it was designed to make you fail.
Yet, in spite of the insurmountable odds, it is possible. It can kill you a thousand times, but if you beat it once, you've beat it. Sure, you may have to fight it again later, but the fact that you can beat it at least once can keep you going. No matter how much it hurts you, no matter how many times you fail, you can always succeed at what you strive to do.
And once you beat the boss, regardless of what in-game reward lies on the other end, the fact that you proved to yourself that you could do it is reward enough.
It is this feeling I wish to share with future players. I want to create an insurmountable and powerful boss, because I want to see players rise from the ashes of their failed attempts, and to beat it.
Making a boss fight with a deep enough fight to invoke that feeling is incredibly difficult. There are countless boss fights out there that have tried nearly everything, so creating a completely new one is nigh impossible, but I can try my best to make it as intricate and deep as possible. I can design the fight in such a way to incentivize cooperative team play, or playing solo, or playing a certain class a certain way. The rabbit hole of self improvement is infinite, and thus the rabbit hole of a boss fight is infinite.
So, what did I do in regards to this boss fight design?
Well, I made everything.
- I scoured sprite sheets of bosses from Realm of the Mad God, studied the technology and math behind the projectiles of the game, and drew and wrote an unfathomably large amount of content.
- I created several projectiles, some of them animated, some of them on different canvas sizes to render in-game in different ways.
- I manipulated the game engine itself to find what was and wasn't possible, innovating new projectile trajectories only using technology already in the game, or in development.
Although incomplete, Void Oryx is inching ever closer to reality.
The process has been a lot like a boss fight. Countless iterations, hundreds of hours refining, over and over and over again. Seeing the light at the end of the tunnel, I am happy to see the future, and what lies beyond.
