A website is the modern-day storefront, but in the digital realm. It is the main hub of your business, where you would promote your brand, sell a product or services, and everything in between. A lot goes into building a website, so lets get into it below.

The brain processes images 69,000 times faster than text but that’s not the only reason why it's a great communication tool — images can communicate what words can’t. They can inspire emotions, instill ambiance and style, and add meaning. And good news – it’s a powerful tool that all Spacestation brands have access to!

Build Requirements



Lead time: 1 week

Context and use case is everything! High-quality, custom illustration is time-consuming so it’s essential to get as much information upfront as possible.

Is it for a brand? An individual? Some other kind of organization? And who else will we be collaborating with to get information and feedback from?

Why is the illustration needed? How will the illustration serve them? Is there a special story or application behind the final product? This is also a good time to tell us about the feel of the illustration and why it matters.

Are there any brand guidelines that need to be followed? Let us know upfront if there are specific people, places, or things that need to be included in the illustration. Show me mood boards you’ve put together or general examples of things you like.

Where will the final product end up? Will it be printed on something (t-shirt, mug, poster)? What does the size/aspect ratio need to be? Are there printing limitations that could affect minimum line sizes, colors, etc?



Lead time: 1 week

Good illustration takes time. It can be difficult and ill-advised to rush. Simple illustrations like the Spacestation seedboxes (where we repurposed premade assets) usually take several hours of dedicated time per piece. Complex illustrations like the Rainbow Six merch line can take weeks.

If it's a complicated or conceptual illustration, we’ll do research before we start on sketches, and put together a mood board with inspiration, basic ideas, and direction. We’ll share those with you and get feedback.



Lead time: 1 week

This is where we do sketch designs on paper. This process allows us to see if we’re on the right track before we spend too much time on the illustration. This is a great time to address the overall concept and general feedback – don’t sweat the small details!

If it’s a big project, you can expect to see some progress screenshots or sketches. Remember, we’re still in the early stages, and keep that in mind when you give feedback. To learn more about quality feedback, read this.



Lead time: 2 weeks

At this point, everyone is on the same page about general style, feel, and concept. We’ve agreed on the direction, so we can spend more time and resources on high-quality deliverables. This is usually the most lengthy part of the process. Depending on the size of the project, you can expect anywhere from two to four rounds of revisions.

Heavy design/illustration work
We’re in the trenches with design decisions as well as rendering/construction/drawing. You can still expect periodic updates, but communication might be less urgent during this phase.

First round of feedback
Since we’ve agreed on a general direction, this is the time to get specific! Details are important, so take your time looking at the artwork. If you have questions about color, text, sizing, or anything else, now is the perfect time to ask them.

After feedback has been addressed, we get back to work with fresh insights on what we can do to improve and polish according to the project goals and our amazing ideas.

Rinse and repeat!
This feedback cycle can happen multiple times over the course of a project. It can be a balance between just enough and too much but caution: Too many feedback loops lead to burnout on both sides. This can be managed with deadlines, clear feedback, and communication, but keep project goals in mind too. Have all the goals been met? Do both parties like the final product? Yes? Then it’s onto the next step!



Lead time: 2 days

Ideally, all feedback and changes stop before we reach this point. If the deliverable is purely digital, production files are cleaned up and uploaded to the creative crew drive, and you get finished files and images for whatever you need!

If there’s a printed deliverable, we’ll loop in merch/project managers to start the merch creation process!

Case study

The most special+critical part of this project was making sure that Ubisoft saw the passion, respect, and high standards we have for their IP. Without this creative faith in us, we would have never been allowed to push the boundaries with their branding.

Since the R6 merch project was the first of its kind (Ubisoft had never licensed out its IP to an esports org before), we knew we had to come up with a super unique, high fidelity line of artwork—and most importantly—ensure our deadlines gave us enough time to do that. This meant that the concepting phase was more in-depth and much longer than most illustration projects. We did extensive research about each of the operators, their home countries, and the meta surrounding them in-game before we even thought about visual concepts.

Once we felt we had a grip on the operators themselves, it was time to make visual moves. Since R6 has strong ties to realistic military weapons and tactics, we used classic GI Joe trading cards as our central inspiration. The way this trading card concept would manifest changed with each operator, according to their personalities and heritage. I compiled brief, digestible profiles and pose ideas to give to our 3D artists general direction on how each operator was going to look and feel. This process took 2-3 weeks of planning on our end as well as back and forth with the 3D team. The execution of all three operator portraits took me an entire month.

"Since R6 has strong ties to realistic military weapons and tactics, we used classic GI Joe trading cards as our central inspiration."

Even though the base operators + poses were there, it was up to me to make an entire composition and stylization system around each operator. My process went a little something like this

  1. Intensive color/lighting adjustments to operator base in Photoshop
  2. Heavy illustration and stylization in Procreate
  3. Back to photoshop to comp into context on a tshirt mockup
  4. Composition and illustration adjustments
  5. Rinse and repeat steps 2-4 until operator graphic looks polished and plays well with t-shirt mockup
  6. Present Ubisoft with completed work

That process got repeated again after each operator shirt had been finalized to make sure they work well together as much as they do individually. We were lucky to work really well with the Ubisoft team, so much that feedback loops were simple and mostly revolved around brand technicalities as opposed to down and dirty design and art issues.

"Our hard work paid off whenever a meeting with Ubisoft left both teams hyped on the content we were creating."