TEXT: To our significant others and families: 
  Thank you  for putting up with us
  while we make our dreams come true. 
  Showing you the new art 
  before anyone else 
  is our little gift to you.
  2
  
  The visual history of FAITH: The Sci-Fi RPG 
  began in mid 2014 with the sketch you can see 
  on the page to the left. It depicts the two main 
  species of the game in their earliest incarna-
  tion, just a few quick lines sketched by Milan 
  Nikolic as part of our preparations for the full 
  on Kickstarter campaign that was to come a 
  year later. 
  FAITH has achieved a lot since then: thanks 
  to the support of hundreds of backers, it has 
  become a “cult hit”, a game that has brought 
  fresh air into the industry with its stunning 
  looks and state of the art mechanics.
  This book is a testament to that path, a 
  selection of the hundreds of images that we 
  have created in all this time. We have poured 
  our souls into each and every last one of 
  them, and we believe we have succeeded at 
  brining our singular vision to reality.
  Now it’s up to you to decide whether we 
  have succeded in one of our main goals: 
  making FAITH the coolest looking role playing 
  game ever.
  FAITH: THE SCI-FI RPG 2015-2017 BURNING GAMES SCP. ALL RIGHTS RESERVED.
  PUBLISHED BY BURNING GAMES SCP. IPARRAGIRRE 60 5D BILBAO ES
  BURNING-GAMES.COM
  ISBN 9780993281495
  PRINTED IN THE EU
  3
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  PRODUCERS
  Jon Egia
  Helio de Grado Fernández
  ART DIRECTOR
  Carlos Gómez Quintana
  LEAD GRAPHIC DESIGN
  Aleksandra Bilic
  ADDITIONAL LOGOS
  Javier Alaiz Domínguez
  ORIGINAL DESIGN
  Milan Nikolic
  LEAD ARTISTS
  Zabi Hassan
  Leon Tukker
  ARTISTS
  Leonid Kozienko 
  Arthur Haas
  Edge Control Studio
  Vukasin Bagic
  Aleksa Bracic
  Marco Brunelleschi
  James Combridge
  Shen Fei
  Eduardo García
  Ivan Jovanovic
  Lukasz Poduch
  Tyler Ryan
  Yong Yi Lee
  Dhenzel Obeng
  Eduardo García
  Anthony Jones
  Tom Edwards
  Tu Bui
  Juan Pablo Roldán
  Llia Yu
  Dmitry Vishnevsky
  Hue Teo
  Cody Williams
  Uros Sljivic
  Fragan Tanguy
  Giorgio Grecu
  Daniel Matthews
  Erikas Perlikovskis
  Nikola Matkovic
  Inkognit
  Gal Or
  Tom Field
  Sam Brooks
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  The Corvo
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  “The Corvo are an insectoid-looking, industrious species that 
  has managed to establish a prosperous space-dwelling civilisation 
  by sheer economic power. They live and die by the rules of money, 
  technological improvement, and free enterprise. They are the most 
  advanced species in the fields of data storage, communication, eco-
  nomics, and space travel”.
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  Milan Nikolic created the Corvo as you know them 
  today. The initial sketches portrayed them as menacing 
  and sly, but we decided that they should be a bit 
  awkward and insect-like. After all, their strengths lie 
  not in their physical appearance but in their advanced 
  technology. 
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  A FEW QUESTIONS FOR MILAN NIKOLIC
  HOW DID YOU ENTER THE ILLUSTRATION WORLD? 
  Well, I was a gamer first and foremost, but then, at some point, I realized that I wanted to be part of games industry. 
  And guess what? Here I am. The story is quite long, but at one point I switched from graphic design to concept design, 
  because I have always had passion for character, creature, and armor design.
  YOU CREATED THE MAIN SPECIES OF FAITH. HOW DO YOU REMEMBER THAT PROCESS? 
  It was a long time ago, but it was very interesting as I remember it. I love sci-fi, and that just made me enjoy the 
  creative process behind each of the species. It was fun and challenging at the same time, but thanks to the guys at 
  Burning Games, we succeeded. Constant communication between us was the key and key to bring those species to life.
  WHAT IS YOUR FAVORITE SPECIES IN FAITH AND WHY?
  It’s hard to choose, they are different and great in many ways. But I believe it’s the Corvo, they are so… alien and 
  hi-tech! From their suits to their technology, anatomy… I mean, I had a great time working on them.
  YOU HAVE ALSO CREATED ENVIRONMENT ILLUSTRATIONS. WHICH DO YOU LIKE THE BEST, FROM THE ONES YOU’VE 
  CREATED FOR FAITH?
  I can’t remember the name, but definitely the one with a golden stone in the middle. It’s mysterious, with an interest-
  ing mood and telling its own story.
  IT’S NOT TYPICAL TO FIND AN ILLUSTRATOR THAT WORKS FOR BOTH ENVIRONMENTS AND CHARACTERS. WHICH ONE 
  DO YOU PREFER? WHAT ARE THE MAIN DIFFERENCES IN APPROACH?
  My work is mostly focused on characters, but I love doing 
  environments; they tell stories. The approach it’s quite dif-
  ferent, but also similar in many ways. I mean, the creative 
  process and the mindset are the same for both. Technically 
  it’s a bit different, but if you have good fundamentals such as 
  perspective, color combination and a great sense for shapes, 
  it can work out easily.
  ARE YOU A BOARD GAME OR RPG PLAYER YOURSELF?
  Oh, actually, I’m an FPS harcdore player! I used to play 
  Counter Strike for 7 years, pretty much professionally. Then 
  I switched to World of Warcraft, then Aion, Guild Wars 2… 
  and now I don’t have time to play games, but I’m watching 
  gameplays all the time, so that I can keep track of what’s 
  happening in the industry. So yeah, videogames more than 
  board games…I know, new age kids! :D
  WHAT WOULD YOU TELL ASPIRING ILLUSTRATORS WHO 
  FIND IT TOUGH TO FIND THEIR WAY IN THE BUSINESS?
  Just keep doing what you really love, that’s the only way 
  to be happy at the end of the day. But also, you need to work 
  smart, and sometimes do what you need to do, not only what 
  you like doing… keep creating universes, enjoy the adventure, 
  there is so much fun in that! :)
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  When we approached the Core Book of FAITH, we went back to drawing board with all the species. From fan-
  feedback we had gathered, we felt that the differences in the shapes and looks of the species were not crystal 
  clear, and we asked Edge Control Studio to lend a hand. These anatomical and physiological explorations are the 
  result of that want. Their essence remains the same, but all their features are more clearly defined.
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  Rich Corvo (above, by Lukaz Poduch and top right, by Erikas 
  Perlikovskis) can live long and luxurious lives, but even the most 
  prosperous among them are vulnerable to crime, corruption, 
  illness or the simple passing of time.  
  In the Corvosphere there is no limit to the wealth one can 
  posses, and that’s specially true since the discovery of the Laby-
  rinth. Many entrepreneurs catch a ride with this very objective in 
  mind.  But those who stay home can beg, borrow or steal their 
  way to the top too. Corvo have entrepreneurship ingrained in their 
  blood (although the Iz’kal would say that they have literally no 
  other option). 
  To the right, a historical Corvo by Tom Field. Yes, the Core Book 
  of FAITH delves deep into the history of each of the species, and 
  here we can see them in a more modest period of their history. 
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  Gradually, we added a great level 
  of detail to the corvo. In the image 
  to the right, created by Edge Control 
  Studios, we wanted to explore the 
  possibilities of corvo clothing: what 
  would a member of this species 
  wear if he or she wanted to stand 
  out? It turns out that the answer 
  lies in neon light.
  To the left we can see a fantastic 
  corvo created by Nikola Matkovic. It 
  answers to a basic question: what 
  type of robot technology is there 
  available in the corvosphere? Note 
  the aiding drones and the prosthetic 
  arm! So cute :)
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  In stark contrast to the smart 
  and clean environment of the 
  gyro-zhan, poorer corvos live 
  inside favelas, sprawling con-
  tainers that host millions of 
  makeshift “homes”. One such 
  humble abode is the one we can 
  see in the illustration to the left. 
  In it, a lowlife hacker fights its 
  way through some far-away 
  firewall while he floats in a sea 
  of homely debris.  
  Illustration by Yong Yi Lee.
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  The corvo middle and upper class  live in spinning 
  doughnut-like spaceships known as gyro-zhan. In 
  these living quarters, luxury and richness abound. 
  In this particular image by James Combridge, we 
  were attracted by the verticality of the skyscrap-
  ers and the general atmosphere of elitism.
  If you look closely, you’ll find two of our favour-
  ite gaming stores in the world depicted out there.
  
  Entertainment 
  abounds 
  in 
  favelas. Above we see a big-boned 
  Corvo enjoy some instant noodles. 
  She better watch, though, as the 
  favelas do not have gravity at 
  all, and she may lose the bowl to 
  the power of science if she is not 
  careful.  
  Illustration by Eduardo García.
  Corvo rave parties are one 
  of the most singular forms of 
  entertainment in the known 
  universe. With the right kind of 
  drug, the most dedicated fans 
  can last days on end in such 
  parties, a prodigy of sound 
  and sight. But participants may 
  regret their acts: viruses are 
  widespreadly disseminated at 
  such events, crime rates sky-
  rocket and, to be honest, the 
  music is just not that good. 
  Illustration by Yong Yi Lee.
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  A magnificent and epic illustra-
  tion by Edge Control Studio that 
  was created to fill two full pages in 
  the core book of FAITH. 
  It shows a corvo colonel bom-
  barding a Ravager infested planet.
  The drafts on top were created 
  to select the color scheme, and 
  green triumphed.
  Corvo 
  hackers 
  can 
  create 
  social unrest and even economic 
  meltdowns. That’s why they are 
  equally revered and feared. When 
  you combine their technological 
  skills with godly powers, there’s 
  no limit to the influence they can 
  exert.
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  “Can we tame the universe? Can we shape 
  it to our will?  These are not questions for 
  us to answer, but for nature. We, followers 
  of Kaliva, pursue our goals to the limit; we 
  try our very best to reach the unreachable 
  places where we want to set foot. If nature 
  has anything to say, now is the time. It matters 
  not, tough. Whatever the answer, we will not 
  stop. Our willpower is stronger than matter, 
  harder than chromium. Today a new chapter in 
  Corvo history may begin, one that will lead us 
  to unknown but glorious places. Today, a door 
  may open, a gateway that will bring power, 
  dominance and riches to the best among our 
  species. That is, if we overcome nature. Show 
  us what you’ve got” 
  Ben Mehdi’s speech at the activation 
  ceremony for the first wormhole machine.
  Illustration by Aleksa Bracic.
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  This is an interspatial hub, or, to use 
  layman’s terms, a very big space-bus station. 
  It is also a place where dreams come true 
  and nightmares begin. Many a corvo has paid 
  huge sums to agencies that promise a better 
  future elsewhere, far away from the havoc 
  of Tiantang, the capital of the Corvosphere. 
  Their fates will be then intrinsically locked 
  to the will of their providers: if the company 
  they selected is honest and true, they will be 
  delivered to the agreed upon destination or 
  something similar. If not, they will be sold to 
  slavers. 
  This is the first of the many images 
  created by Leon Tukker for FAITH. As you 
  can see in the images above, he first creates 
  quick sketches of the concept and builds an 
  actual, honest-to-goodness 3D model of the 
  thing. Then, he chooses an angle to paint and 
  illuminate the object, resulting in the image 
  to the right. What kind of sorcery is this?
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  Here are two more examples of Leon’s 
  magic at play. In the page to the left you can 
  see the original 3D models, and in this page 
  how he paints them for review. We couldn’t 
  resist showing the finalized pictures in all 
  their glory in the following spreads, along 
  with commentary by Leon Tukker.
  31
  32
  
  “This image was pretty hard to make. I challenged myself with somewhat of an unusual color scheme and shape language. Since there is 
  no gravity in this environment it gave me a lot of freedom to place all of the elements the way I liked it because I didn’t have to think about 
  constraints we have here on Earth. I modelled a simple container in 3D and copied it all over in interesting formations. I then tied everything 
  together with bigger engines and some other structures. In Photoshop, I painted over the shapes I made in 3D to make it more painterly and 
  interesting to look at. I also added a couple of characters so people would get the sense of scale of the image. Lots of fog was added to imply 
  a sense of depth and to show of the giant scale of the structures. Corvo would float through this environment, living in shacks and working 
  all day to make a living. Most of these corvo were born here and don’t even know the concept of gravity” - Leon Tukker.
  33
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  “For this work I looked at actual shopping malls, except with this one the shops are all over the place! My idea is that the station would 
  start as a fairly big mall already, but as companies started expanding and competing against one another the shops would start appearing 
  all over.
  As usual I started this image in 3D, especially the tower in the middle would be hard to draw by hand. I used parametric design techniques 
  to model the scene, before bringing it into Photoshop to add all of the details. I used some of the logos that were made for the different 
  corvo companies. For the look of this image I looked at tons of futuristic buildings most of us recognize and I tried to use those visuals as 
  reference for my image. I wanted the mall to look enormous but still pleasing to look at. With this image I struggled a little bit because detail 
  was all over the place and it was very hard for people to see what they were looking at. So I ended up removing a lot of detail to make the 
  image more readable for the audience” - Leon Tukker.
  35
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  Milan Nikolic wrecking 
  Godly havok left and right.
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  If you are having trouble picturing gyro-zhans and favelas, 
  Hans Jenssen to the rescue! We commissioned this high profile 
  cross-section mastermind to bring the Tiantang habitats to life.  
  In the next few spreads you can see several WIP drafts along with 
  comments from the master himself.
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  This is what Hans Jenssen tells about the process: 
  “When I was first contacted by Burning Games about 
  working on some FAITH Universe illustrations, I initially 
  wasn’t terribly enthusiastic. Having just spent a year 
  working on a book about a very well-known video 
  game, I really felt like I needed a break from sci-fi. But 
  after a few conversations, this project really grabbed 
  my interest”. (continues on page 42)
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  Continues from page 40 “Juxtaposing two very 
  different environments in a single illustration was to 
  me a fascinating idea and I loved the freedom Burning 
  Games gave me to design and develop this concept 
  from their basic premise. Working on this project has 
  been a pleasure with great support from the client, 
  who allowed me much more creativity than I’m accus-
  tomed to. This has its own challenges but as an artist, 
  being stretched is always good.” - Hans Jenssen.
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  45
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  Nation’s Solution is one of the three Meg-
  acorps that, in the absence of a true gov-
  ernment, tacitly rule the Corvosphere. The 
  three corporations  have split their “area of 
  expertise” so that they don’t interfere with 
  each other businesses. NS oversees the 
  nanotechnology and genetic modification 
  industries under the rule of Di Engun, as 
  illustrated here by Lukasz Poduch.
  Wang Corp is the brains of 
  the 
  Corvosphere. 
  Computers, 
  education, entertainment, cy-
  bernetics and mass media are its 
  main areas of activity. Under her 
  tenure as CEO, Cho Bei [right] has 
  reduced corruption and bureau-
  cracy at Wang Corp by nearly 
  500%. Not everyone’s happy. 
  Illustration by Joao Fiuza.
  All the Megacorp, faction and clan logos have 
  been designed by Javier Alaiz, creator of Ether 
  Wars (the first board game we have published), 
  graphic designer and master chef. We salute 
  him from these pages! 
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  The Union is the main 
  provider of weapons and 
  military utilities in the 
  known Universe, but also 
  takes care of transporta-
  tion, space travel, vehicles 
  and, of course, national 
  defence 
  and 
  private 
  security. Its main share-
  holder, Xeon Magno [right] 
  is famous for his ultimate 
  weapon collection. 
  Illustration 
  by 
  Edge 
  Control Studio. 
  A FEW QUESTIONS FOR ZABI HASSAN AND DHENZEL OBENG
  ZABI, WHEN DID IT DAWN ON YOU THAT YOU WANTED TO BE AN ARTIST? 
  Zabi: So far in my life it has crossed my mind many times to be an artist (elementary, late middle school and high 
  school). The time that I truly made up my mind was during my final year in high school (2014). Prior to that I was discour-
  aged from such thoughts not only by others but also as a child seeing some artists on the streets.
  WAS IT DIFFICULT TO CONVINCE THOSE AROUND YOU ABOUT YOUR DREAMS?
  Zabi: Convincing others around me wasn’t very difficult, but growing up with this fear set in you about art and not 
  being able to support yourself, that’s where the real difficulty comes. I believe it was more of a struggle to convince 
  myself, to believe in myself that I will be able to pursue my dreams and my fear shouldn’t be failing, my fear should be 
  not living how I wanted to.
  - DHENZEL, TELL US ABOUT YOUR BACKGROUND IN ARTS. HOW DID YOU DECIDE TO BECOME AN ILLUSTRATOR? WHAT 
  INSPIRED YOU? 
  Dhenzel: I think I have a pretty similar story to most artists - I drew a lot when I was a kid, longer since I could 
  remember. I picked up Photoshop very early and fiddled with photomanipulation and graphic making, and eventually 
  found you could draw digitally. By the time I was late into high school, I learned about concept art, specifically through 
  an artist named Feng Zhu, which is the reason I decided to pursue this to begin with. I’ve learned a lot since then and have 
  been extremely fortunate to have fantastic & supportive peers helping me along.
  - COULD YOU BOTH TELL US A BIT ABOUT THE PROCESS YOU FOLLOW TO CREATE ILLUSTRATIONS IN GENERAL AND 
  FOR FAITH IN PARTICULAR? WHAT ARE THE STEPS, AS TOLD TO SOMEBODY WHO DOES NOT KNOW ANYTHING ABOUT 
  THIS PROFESSION?
  Zabi: First thing I do is make sure I understand the brief I am given and ask any questions I have before moving 
  forward. Then comes research, this could be either technical things or just inspirational research. After gathering my 
  references, I start to sketch some Ideas and continue evolving/modifying them until I come to a design that is both cool 
  looking and satisfying the brief. I will show my progress to Carlos (from Burning Games) so he can pick the direction he 
  likes and I continue to refine it until I have a finished illustration. Another method I have recently incorporated has been 
  building the base 3D model in Zbrush, pose it, then completing it in Photoshop. The new method allows me to make 
  changes to posing and lighting quicker than 2D.
  Dhenzel: The process for making an illustration is different for everyone, but they all involve a similar pattern - 
  Research, Design, Iterate & Render. For myself, when I’m given an assignment, I’ll usually do the research and design at 
  the same time. It’s important to get visual references to help your thought process along, but it’s also important to just 
  draw and sketch - get things out of your system. I get my ideas out best when I’m not focus on making a pretty picture 
  - very rough sketches on paper or Photoshop get my brain going, weaving between the reference and what I can come 
  up with. When a design or sketch is approved, I develop it further to show the client and myself the direction its going 
  in, to make sure I’m on the right track - this stage is also when I can give variations of the same idea, hence iteration. If 
  everything is all good, then I finish it of by polishing it within Photoshop. This process doesn’t always go as smoothly as 
  this - there’s no one way to come up with an idea or be happy with it halfway through. But I think the more difficult it is 
  to come up with something, the more rewarding it is in the end when you figure it out.
  - WHAT ARE YOUR FAVORITE ILLUSTRATIONS YOU’VE CREATED FOR FAITH?
  Zabi: Overall design wise, I would say the female Corvo is still my favourite. Technical ability wise, I like the Corvo and 
  Iz’kal anatomy references I created. Those illustrations were a breakthrough to me in 2D rendering back then.
  Dhenzel: I’d say the big corvo illustration of them bombing a planet was my favourite. Doing big pieces like that is 
  always rewarding & as a student, it gives you some perspective as to where you are on a technical level.
  49
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  The Iz’kal
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  “The Iz’kal are a species of amphibious humanoids with an organ-
  ised, strict society and a strong communal mind. They are telepathic, 
  able to communicate among themselves without words, and live in 
  a cooperative, egalitarian society; thus they are a collective both by 
  genetic predisposition and by political rule”. 
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  54
  
  55
  56
  
  The Iz’kal, much like the Corvo, were 
  originally designed by Milan Nikolic. The 
  pitch we gave him was that they should be 
  sleek but powerful, gracious yet menacing. 
  Both Gen’Gala [previous spread] and Vash’Uh 
  [this spread] fulfil these characteristics with 
  aplomb. 
  We used Gen’Gala as a testing ground for 
  the overall look of the species, as you can 
  see in the early sketches. We went for an 
  “aquatic mammal” (i.e. dolphin-like) look, to 
  honour their marine origins. 
  Also noteworthy is the fact that we 
  wanted the Iz’kal to be stocky, as can be seen 
  in the images to the right: Vash’uh went from 
  nimble citizen to kickass fighter. 
  In the following spread you can see several 
  early variations, all by Milan.
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  It’s in their nakedness that the Iz’kal show their mammal characteristics. As seems obvious, their sexual organs are 
  similar to ours, but there are marked aquatic features, too: the membranes between their fingers are not dissimilar 
  to the ones found on frogs on earth. Their standout features, though, are the appendages  that spurt out from their 
  heads and their lower backs. The latter is a regular tail, excellent for swimming fast and maintaining equilibrium; but 
  it’s the former, the iz, that marks the true difference. The iz is an extension of their brain, and allows them to connect 
  in hyperlink, a communal network that gives them the opportunity to communicate ideas and feelings with members 
  of the species. If cut, they become dangerously deppressed. 
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  The vast majority of citizens of the Iz’kal State are regular officials  
  who do their assigned jobs without drawing too much attention. That’s 
  why we have focused on the more colourful members of the commu-
  nity, such as a Whisperer assassin [left] who works hard to destroy the 
  Iz’kal ways, or the Memorial [right] who belongs to a group of historians 
  that relieve their species’ past... quite literally. Illustrations by Edge 
  Control Studio.
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  The iz’kal on top is a historical member of 
  their species, from a time when they were 
  a very primitive society. The advent of the 
  Korian, a powerful species that conquered and 
  enslaved the Iz’kal, was ultimately responsible 
  for the species’ technological evolution, in a 
  similar fashion to what happened in Europe 
  with the Romans and the Celts. The final image 
  shows a kinder nature than the early drafts 
  suggested. 
  To the left, a member of the IFF, the bloodi-
  est source of dissent in the State. Are the neon 
  clothes a nod the the Corvo? After all, it’s their 
  ways they want to follow. Illustrations by Uros 
  Sljivic.
  65
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  Here we see a regular iz’kal bureau-
  crat working on a huge data-system. 
  Iz’kal jobs are usually clean, healthy 
  and safe, and give technocrats plenty 
  of time to enjoy leisure activities. Their 
  comfortable day-to-day lives are a 
  trade off for full compliance. 
  For this illustration we opted for a 
  striking, naturalistic shot, as opposed 
  to the more obvious angle of sketch 
  #2. With it we achieve our goal: to show 
  the routine of the iz’kal workers from a 
  neutral angle, as if we were workplace 
  inspectors making sure everything is 
  played by the book. 
  Illustration by Yong Yi Lee.
  Erthum is an arid and dry planet, a 
  far cry from the watery iz’kal home-
  world of Al’ameen. It’s devastating to 
  know that, once they were enslaved 
  by the Korian, they were brought here 
  en masse. When they got rid of their 
  oppressors, instead of just leaving 
  Erthum behind the iz’kal decided to 
  make this deserted planet their own, 
  and thus the most massive terraform-
  ing initiative in recorded history begun. 
  In this image we see one of Erthum’s 
  zaki-waaha 
  cities, 
  artificial, 
  self-
  efficient metropolises that were built 
  as part of the terraforming initiative. 
  For this image we chose a very singular 
  rock formation, in order to convey the 
  degree of technological advancement 
  and aesthetic sensibility of the iz’kal. 
  Illustration by James Combridge.
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  The home planet of the Iz’kal, Al’ameen, 
  hosts one of the most important sacred 
  realms in the known Universe. It’s a huge 
  network of caves known as Alhena and iz’kal 
  from all parts of the State and beyond travel 
  here to connect with their fellow comrades. 
  This illustration is one of the most unusual 
  pieces in FAITH. It’s an oniric, dreamy artwork, 
  far from the hard sci-fi found elsewhere and 
  closer in nature to a fantasy setting. This is, 
  of course, intentional, and was selected to 
  inspire the awe and majesty that the iz’kal 
  feel when they access this holy area. 
  The huge mushrooms and the luminous 
  plants set the tone for a place of wonder. 
  Illustration by James Combridge.
  The iz’kal State is, unlike real world examples, 
  a strong and stable communist government 
  that cares not for its elites, but for the wellbe-
  ing of all its citizens, called technocrats.
  Its basic and most important social cell is the 
  majmoa, a group of three to twenty iz’kal of 
  both genders that all love, support and care for 
  eachother. It fulfils the role of family, marriage, 
  intimate relationship, friend clique and neigh-
  bour community, all rolled into one.
  In this imagei we can se a modern day majmoa 
  in a regular iz’kal house, where most areas are 
  connected and its members can relax while 
  engaging in hyperlink.
  Illustration by Shen Fei.
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  In an intricate lore full of oddities, few 
  tidbits come close to capturing the aloof-
  ness of Al’halam, a planet run entirely 
  by robots and kept as a historical robotic 
  reserve by the iz’kal. 
  Mysteries are rife in this planet: what 
  species built it and lived here? How did they 
  achieve such an advanced state of technol-
  ogy that, thousands of years after their 
  departure, the city is still fully operational? 
  The illustration itself takes cues from 
  famed architect Santiago Calatrava. The 
  Spanish businessman is known for his awe 
  inspiring results marred by compromised 
  durability and dubious efficiency. A far cry 
  from Al’halam, and a delicious bit of unin-
  tended irony.
  Illustration by Leon Tukker.
  The devastating attack of an Ironskin 
  over Coalition forces. 
  The selected angle is intended to rein-
  force the notion that the ravager have the 
  upper hand over the Coalition and also to 
  give a general air of despair and dizzyness. 
  This illustration was created by Shen 
  Fei, who has also worked for other great 
  companies such as Games Workshop.
  Illustration by Shen Fei.
  71
  72
  
  Leon Tukker continues with his shock and awe tactic: for this illustration of 
  the iz’kal capital of Al’ameen he created a massive 3D model, using textures to 
  recreate even the smallest of streets.  Below you can see the early model and 
  to the right the final version in its full glory.  
  73
  74
  
  This illustration has been created by Tu Bui, the artist behind the cover 
  of Titanfall 2, among other high profile videogames. 
  In contrast to the lofty standards of its creator, the picture itself depicts 
  the darkest and lowest aspects of the iz’kal State, namely the black-ops 
  that they put forth in order to contain the Corvo expansion.
  75
  76
  
  The State, the highest form of authority in 
  the iz’kal civilisation, was established almost 
  organically after the Korian oppressors were 
  overthrown.  In a way, the iz’kal went from a 
  tribal species to intergalactic superpower in just 
  two hundreds year of slavery.
  For all its egalitarian objectives, the State does 
  not shy away from using the force to achieve 
  their goals. The Savak (pictured here), the iz’kal 
  secret police, is a testament to that fact.
  Illustration by Edge Control Studio.
  The Firebirds are a group of rebels who used 
  to smuggle foreign goods into the State. After 
  being severely reprimanded, they swore to fight 
  against their overlords from the fringes of iz’kal 
  society. It’s an ideal background for all your 
  Firefly-ish gameplay needs. Pictured to the left, 
  a member of the Firebirds. 
  Illustration by Hueala Teodor.
  77
  78
  
  This menacing figure is the Knight, leader 
  of the IFF terrorist group, the main internal 
  enemy of the Iz’kal State. Their goal is to 
  end the rule of the State and establish a free 
  market society in the vein of the corvosphere.
  Illustration by Edge Control Studio.
  79
  80
  
  The Human
  81
  82
  
  “Humans are a mammal, bipedal species from Earth, a remote 
  world from an isolated solar system in quadrant Wung 2238. They 
  would be of no consequence to the universe at large if they hadn’t 
  been discovered by the Corvo in 1659 SA, which turned them into the 
  most sought after soldiers of known space”.
  83
  84
  
  Inspiration for humans comes from our first 
  hand experience with this species. The team of 
  Burning Games has lived, for several decades, 
  in a human planet full of homo sapiens. Their 
  quirky ways and tendency for self destruction 
  make of them a very fun to watch lifeform. 
  These are by Milan Nikolic.
  85
  86
  
  In all seriousness, the humans of FAITH are sub-
  divided into three categories, depending on their 
  relationship to the Corvo: (1) Spacebound humans, 
  who are usually mercenaries but can also be free-
  wheelers or part of the Human Front; (2) urbanite 
  humans, who live in reserves on Earth with the 
  aim to produce new humans for Corvo use and (3) 
  wasters, who live savage lives on Earth, independ-
  ent from corvo control.  In this spread we see three 
  spacebound humans. We created lots of them for 
  the first edition of FAITH.
  Illustrations by Lukasz Poduch.
  87
  88
  
  Wasters and Urbanites,  by Erikas Perlikovskis.
  89
  90
  
  The poor fellow we see here is a human transformed into a fulcrum, a sentient android created by seedy Corvo 
  entrepreneurs. Those who end up in this shape and form are usually volunteers who have little to lose. Let’s describe 
  the usual process and then you tell us if it’s worth the asking price, ok? It goes like this: poorer humans are approached 
  by corvo solicitors that offer them a value package, namely a life of comfort, pleasure and excitement only reserved 
  for those in the upper classes of society. Here’s the catch: as soon as they die they must offer their body and mind 
  to biotechnological goals. The scientists insist that they won’t feel a thing, ever. But there are stories of Fulcrums 
  whispering, in a slow voice, things that only their original hosts would know...
  Spacers,  by Tyler Ryan and Fragan Tanguy.
  91
  92
  
  LIfe on Earth, outside of the Corvo reserves, 
  can be pretty damn harsh. In this illustration 
  we can how the Eiffel Tower in Paris, France, 
  has been taken over by favela-like structures. 
  In the top right image you can see how the 
  artist, Leon Tukker, created a 3D object before 
  painting it, giving the illustration an acute 
  sense of realism. 
  93
  94
  
  This illustration, for all its quiet evocative-
  ness, is actually a still from a momentous 
  historical non-event: the first corvo-human 
  contact never recorded.
  It wasn’t long before the cavalry arrived and  
  full recorded contact was made between the 
  alien invaders and the local population.
  In sharp contrast to other colonial forces, 
  the corvo do not have a thing for extermina-
  tion. Instead, they see their findings as either 
  clients or providers. In humanity, they found a 
  huge source of soldiers and bodyguards, and 
  its was in their best interest to harvest them 
  appropriately, as they would with a quarry or 
  a mine.
  The end result depicts a single human to ac-
  centuate the dreamy feeling. 
  Illustration by Eduardo García.
  This is the Guggenheim Museum in 
  Bilbao, Europe. It’s actually the city 
  where Burning Games is registered as a 
  company and hometown of a quarter of 
  the team. 
  Frank Ghery’s landmark building is 
  used here as a makeshift bastion by 
  human defence forces against the corvo 
  in one of the first squirmishes between 
  parties. 
  With the selected frame we wanted 
  to stress the ominous, unstoppable 
  advance of corvo forces against the 
  much weaker human fighters. 
  Illustration by Yong Yi Lee.
  95
  96
  
  The fellow pictured in this page is a Threesk, 
  an enforcer of the Three Skulls Mob. This mob 
  is the largest and most dangerous this side 
  of the corvo tongs, and is mostly made up of 
  human scoundrels. 
  Their leader Empress Jazmeen is probably 
  the most powerful human in the galaxy and is 
  said to amass weapons so powerful that she 
  destroyed a Ravager Queen along with her 
  swarm in a single blow. 
  Illustration by Lukasz Poduch.
  Fronters are spacebound humans who have 
  fled from corvo domination. They commit 
  acts of sabotage, treason or plain terrorism 
  in order to achieve their ultimate goal: to free 
  their species from the control of the corvo. 
  Their emblem, a five fingered hand, is a clear 
  reference to the fact that their oppressors 
  have only four of them, even if theirs is the 
  upper hand.
  Illustration by Edge Control Studio.
  97
  98
  
  The Raag
  99
  100
  
  “The Raag are a species of large, strong, and aggressive beings, 
  native to the tunnels of the ice planet Heimis. They are humanoid 
  bipeds, larger and bulkier than any other sentient species on record. 
  Renowned for their strength and endurance, the Raag place great im-
  portance on tradition and honor. Their size and penchant for violence 
  has led to them being used as slaves and gladiators by other species, 
  mostly the conquering Korian”.
  101
  102
  
  We are going to be honest here: we didn’t have a very clear idea when we created the visuals for the Raag. It was a relatively late 
  addition to the lore of the game and the only two things we had in mind were the following: they had to be brutes and they had to be 
  somewhat cute. 
  In this page we can witness the very first Raag ever, and is none other than Maliina, one of the five big bosses of the original core set of 
  FAITH. Milan Nikolic did his best with the scattershot information we provided, and the result is a bit unfocused (again, 100% our fault). 
  See those horns in the image above? They are a byproduct of the Raag being, for the shortest of times, the weird beast shown in the 
  bottom illustration. We ended up scratching the idea and going for a hornless look, but the Raag were still far away from being their true 
  selves. 
  This is our second Raag, also created by Milan 
  Nikolic. The features now start to converge in a much 
  more focused way and we can see that the trademark 
  features of the Raag are already present here: their 
  bluish skin, the dreadlocks hanging from the temples 
  and a general air of world weariness, as in “out of the 
  way, boy, I’m late for my daughter’s birthday party”. 
  103
  104
  
  And finally the looks of the Raag were consoli-
  dated with these two illustrations by Marco Brun-
  neleschi. Most of the features of the previous 
  iteration are there, but also a new one that would 
  define this species in our minds: their infinite, 
  pitch black mouths. 
  The specimen below is the favourite character 
  of team member Helio. 
  A noteworthy tidbit: see how different the 
  sketches are from the final result? Free tip for 
  aspiring art directors: get to know your artists, 
  and when you do, trust them and do not be taken 
  aback by idiosyncratic WIPs. 
  Illustrations by Marco Brunelleschi.
  105
  106
  
  We asked Zabi Hassan to comment on these weird looking concepts: “Looking at that RAAG anatomy process now, I find myself 
  very confused... at myself. Full disclosure: this isn’t exactly how concept art is done. I believe back then I was soo excited that I was 
  about to define the anatomy of the FAITH species that I decided to try a method that would give me different results. I started by 
  taking the skeleton of a bird and built a frame, add a cat’s face and feet then built muscles on top. This method did give me a cool 
  looking thing, but I didn’t meet the requirements of the brief. I believe Carlos’s reaction was ‘It looks a little like a sad clown’ hahaha” 
  [continues on page 109]
  107
  108
  
  (Continues from page 106) “Regardless, this process gave me interesting shapes I wouldn’t normally be able to think of. For 
  those curious, my usual way of doing these illustrations start with couple hours of ref gathering. I first look for direct reference 
  for the subject, then reference that doesn’t relate but might aid with design and finally textures for “photobashing”. Then I start 
  to thinking of personalities. Rather than jumping in blindly, I believe it’s crucial to have some sort of understanding of what kind 
  of personality will make the character work. Having an Idea as to what I want, I don’t start with silhouettes for thumbnailing. My 
  thumbnails usually are detailed line drawings, which I am able to do because of the thinking I did earlier. During iterations phase, I 
  tend to make the piece mostly complete, just lacking cleanup. Finally, after getting a green light from Carlos, I go ahead and render 
  the piece and use small tricks to finish the illustration”. - Zabi Hassan
  109
  110
  
  This spread showcases the 
  work of Fragan Tanguy, a late 
  addition to the FAITH illustra-
  tor’s roster. His style is very 
  unique, with end-of-the-world 
  like colours and stormy-day 
  lightning. The results fits very 
  well with the Raag, as they live 
  in a very dark and hostile envi-
  ronment in their native planet 
  Heimis. 
  As you can see here, the Raag 
  are not high-tech. They use low-fi 
  machines and wear plain clothing 
  with the smallest hint of radiance 
  reserved to ornamentation. 
  After they come of age, Raag 
  lives complicate a lot, but they 
  enjoy relatively happy, worry-
  free childhoods.
  111
  112
  
  This is one of the many ice-fortress slash space-
  ships that make up the bulk of the Raag armies. 
  Some of their clans spend decades looting in far 
  away planets before coming back to Heimis with 
  their “harvest”. 
  The selected illustration veers a bit into fantasy 
  territory  but the Raag are a species that allows for 
  such nuances. The block of ice is striking in it’s own 
  right but the level of detail and mesmerizing colour 
  palette provided by James Combridge make the 
  piece a standout. 
  113
  114
  
  This illustration, created by Edge Control Studio, 
  starts the Raag section in the Core Book of FAITH. 
  Kudos to Dhenzel Obeng for his top-notch result and 
  amazing creation process (top). Quick fact: Raags 
  worship technology (literally).
  This is one of the main galleries of Heimis, dozens of meters below 
  the ground. The entire planet is covered in ice and the only place where 
  the Raag can live is underground. Illustration by Leon Tukker.
  115
  116
  
  The Cult of Eternia is a secretive organiza-
  tion that reveres technology. They have full 
  control over each and every piece of innova-
  tion that Raags discover, find or buy and have 
  veto powers over them. Their influence has no 
  equal among the Raag. Pictured, an enginseer 
  (i.e., a technopriest) by Erikas Perlikovskis.
  There are five main clans 
  among the Raag, each of 
  them with their own area 
  of influence and attitude 
  towards other clans and the 
  world as a whole. 
  The 
  logo 
  below 
  corre-
  sponds to the Kimora, a clan 
  known for their bruteness. 
  They distrust the Cult of 
  Eternia.
  Pictured, a Kimora warrior, 
  by Fragan Tanguy.
  117
  118
  
  The Eferi clan is close to the Cult of Eternia, 
  and thus they are in constant struggle with the 
  Kimora. The Eferi pride themselves to welcome 
  smart and cunning Raag among their ranks, 
  favouring brain over muscle.
  Pictured, sister Dagun, leader of the clan. 
  Illustration by Edge Control Studio.
  The Noteri clan is made up of 
  outcasts that no other clan wanted 
  to accept. Members of this clan are 
  equally scorned and feared: they try 
  to make up for the years of bullying 
  they suffered with bloody raids against 
  other clans. Vashka, pictured above, is 
  said to be the most ruthless and blood-
  thirsty Raag to ever live.
  Illustration by Edge Control Studio.
  119
  120
  
  The Velada clan is the most populous 
  clan of Heimis and Fraaga, pictured 
  above, is one of the top scientists in the 
  Raag world. This means that he is the 
  most important asset of the clan and a 
  huge threat for the Cult. He is escorted 
  by bodyguards at all times.
  Illustration by Edge Control Studio.
  The Jino is a small clan, with curious and 
  peaceful members that love to explore the 
  galaxy and live incredible adventures. 
  Theirs is one of the largest and most impres-
  sive  ice fortress in space: the White Whale.
  Pictured, Captain Dozar, by Edge Control 
  Studio.
  121
  122
  
  The Ravager
  and the Coalition
  123
  124
  
  “We don’t know where the Ravager originated or what they are. 
  The ones we encountered were so mutated from the host lifeform 
  it was impossible to tell what remained of the original creatures, if 
  anything at all. 
  Most of what we know of the Ravager comes from the few speci-
  mens recovered at the battle at Parsaius and the clues from the, uh, 
  ravaged worlds they leave behind.
  At first, they were nothing but a rumour; tales of abandoned 
  colonies and spaceships, looking like something had eaten them. 
  Eaten spaceships. How could we take such a thing seriously?”
  125
  126
  
  The very first two Ravagers in the history of 
  the Universe. An Ironskin (bottom left) and a 
  Harvester (right). Both of them were created by 
  Milan Nikolic to showcase the species’ porten-
  tous nature. 
  127
  128
  
  Three more Ravagers 
  and 
  their 
  development 
  process, by Edge Control 
  Studio (top) and Marco Bru-
  nelleschi (bottom).
  129
  130
  
  A variety of Ravagers by Marco Brunelleschi 
  (page to the left), Edge Control Studio (top) and 
  Milan Nikolic (left). A good way to show that the 
  members of this species can be pretty much 
  anything their Queen desires.
  131
  132
  
  [SPOILER ALERT FOR THE FAITH: A GARDEN 
  IN HELL STARTER SET]
  Queen Nor is a humongous being that travels 
  the universe accompanied by her minions in 
  search of new genetic material to enlarge her 
  species’ ranks both in number and variety. 
  It the A Garden  in Hell campaign [last chance 
  to look back, spoilers incoming] it is discovered 
  that she is just one of many Ravager Queens, 
  and not only that, but she answers to a higher 
  ranked, super queen known as Um. 
  This illustration and the one on the right 
  page were created by Arthur Haas and depict 
  the Queen’s true magnitude and her brain, 
  respectively. 
  133
  134
  
  This is the Coalition logo. The shield is a 
  straightforward symbol: defence. Circles, on 
  the other hand, signify unity, self and eternity. 
  In this context they represent the Coalition’s 
  will to overcome the Ravager threat in a united 
  fashion. The two pointy spears, though, make 
  it clear that once the conflict is over it’s every 
  man for himself again. 
  A high level meeting between the Corvo 
  and Iz’kal to discuss the Ravager threat. It 
  was during such talks that the Coalition was 
  formed, a bipartisan military force to which 
  raag and human forces were added later on.  
  The Coalition military has its own hierarchy 
  and is independent, at least in theory, from 
  both the Megacorps and the State. The truth 
  is that someone has to provide the weaponry, 
  the medical supplies, the foot soldiers and so 
  on and so forth. 
  The illustration has been created by Spanish 
  artist Eduardo García. We were delighted by 
  the gothic overtones of the image, a bit of a 
  departure from usual business, but one that 
  captures the transcendental nature of the 
  meeting. 
  135
  136
  
  Wonders of 
  the Universe
  137
  138
  
  “Space travel is only possible thanks to The Labyrinth, a network 
  of wormholes that naturally connects all the universe from one 
  end to the other.
  The Labyrinth is as vast as the Universe itself, and, although 
  all starfaring species have more or less learned to navigate it, 
  nobody truly understands how it works. It allows ships to go from 
  one end of the Universe to another, and that’s enough for now; 
  but all sentients know that a true understanding of the Labyrinth 
  would be the ultimate advantage in the space race”.
  The Labyrinth is the key to all that’s happening in FAITH. The 
  Corvo found the Human through it, and so did the Iz’kal with the 
  Corvo, starting a new era of uncertainty. Now, it’s a gateway to 
  fame, fortune and glory, but it also leaves the window open for 
  the Ravager, who can spread their forces in every direction of 
  the Labyrinth to consume more and more habitats.
  Illustration-wise, the one to the right is probably the most 
  iconic image of FAITH. Created by Milan Nikolic, it’s an awe 
  inspiring sight, but as with all thing FAITH, the background to 
  such glorious imagery is anything but: those you see there are 
  corvo migrants blindly jumping into the Labyrinth in hopes of 
  finding solace on the other end.  Their chances of doing so are 
  slim to none.
  139
  140
  
  Smuggling goods, assaulting spaceship 
  and travelling from one system to another 
  via wonky vehicles are at the core of FAITH 
  gameplay. High politics are a background for 
  exciting adventures, and it’s up to you and your 
  group to take advantage of the many business 
  opportunities that spring from the higher-end 
  turbulences between the Corvo and the Iz’kal, 
  the megacorps, etc. 
  Illustration by James Combridge.
  Here we see the inside of the Labyrinth, with a myriad of smaller holes leading 
  to innumerable points across the universe. In the picture above you can see three 
  different spaceships, right? Wrong: they are actually one and the same spaceship, 
  but light works in unpredictable ways within the wormhole, leading to such situa-
  tions where you can see yourself repeatedly. 
  The illustration has been created by Aleksa Bracic, one of the most talented 
  artists we’ve worked with and one with a huge sense of humour. Can you find 
  anything weird in the sketch to the left?
  141
  142
  
  “Picture yourself in a boat on a river, 
  with tangerine trees and marmalade 
  skies”. This illustration was not inspired by 
  the Beatles classic but in hindsight it may 
  well have been... if the trees were bulbous 
  malformations and the skies were of ra-
  dioactive green.
  Where is this place? Who is the enigmat-
  ic rower? Who are the soldiers on the boat 
  and what are the animals on the shore? In 
  short: it’s up to you. 
  The idea behind the player deck of FAITH, 
  in addition to providing the tools to, well, 
  play the game, is to offer snippets of a 
  huge universe; small windows into a large 
  world that will help you create your own 
  adventures. 
  So we ask you: Where is this place? 
  Who is the enigmatic rower? Who are 
  the soldiers on the boat and what are the 
  animals on the shore? 
  Illustration by Yong Yi Lee.
  For at least one of the team members of Burning 
  Games, losing the flashlight from the initial draft of 
  this illustration has been the greatest disappointment 
  of the company’s tenure. Apparently it went against 
  the image’s believability and science in general, but I 
  beg to differ. What’s true is that the final image is truly 
  spectacular,  an awe inspiring work of art.
  According to one of the seedsheets (story seeds) 
  of FAITH, these beasts are found in the abysses of 
  Heimis, the home planet of the Raag. And yes, of 
  course, the piece has been created by the one and only 
  Milan Nikolic. 
  143
  144
  
  We published this illustration the instant the Kickstart-
  er campaign for the original FAITH was funded. It read 
  “A Journey Begins”, and it was meant to reflect the awe 
  we were feeling at that point in time, the sensation that 
  we were entering a new and unexpected phase of our 
  lives. That moment when it was a certainty that our first 
  project had successfully funded, we knew that creating 
  games was our calling. We thank you for supporting us 
  in this hard and long way, and we promise we will deliver, 
  once and again.
  Illustration by Milan Nikolic.
  The poor people in this picture were 
  attacked by the Ravager. Or were they 
  infected by a virus created by Nation’s 
  Solution? Maybe they run out of electric 
  power and suffered a long and slow death 
  waiting for their supplies to end... The 
  options are plentiful and the point is that 
  you can use the playing cards as inspira-
  tion for your adventures!
  Illustration by Yong Yi Lee.
  145
  146
  
  We’re gonna keep this one shrouded in mystery, for now.
  Illustration by Aleksa Bracic.
  Fun fact: the beast pictured in the 
  image to the right was supposed to 
  be a Raag. Unfortunately, It did not 
  end up aligning with our final idea for 
  this species, and we scratched it.
  Now the question is, what is it? 
  While we do not have a proper 
  answer at this point, the truth is that 
  the way the universe of FAITH is set 
  up, with a giant wormhole taking 
  you pretty much anywhere in the 
  cosmos and all, allows for all forms 
  and shapes of lifeforms to exist, so, 
  in a way, it’s a proxy for all the new 
  and fascinating species you can find 
  out there.
  And yes, the same goes for the 
  giant carnivorous plant. 
  Illustration by Yong Yi Lee.
  147
  148
  
  NT-44, also known as Ujara, is the planet where 
  the action of Faith: A Garden in Hell takes place. We 
  wanted it to be a very fresh and luxurious planet, 
  full of cinemascope vistas and technicolor flora and 
  fauna. We were heavily inspired by the art of Arthur 
  Haas, and eventually we contacted him to create new 
  illustrations. In this spread you can see various snap-
  shots from this fascinating yet dangerous planet.
  149
  150
  
  151
  152
  In the previous page you can see the diverse flora 
  and fauna of Ujara, created by Vukasin Bajic and 
  Marco Brunelleschi.
  In this page you can see several hand-drawn 
  sketches by writer JC Obal for the campaign. Can you 
  spot the maneater mangrove?
   The final maps, like the tower of the Alterant, to 
  the right, were created by our friend Álvaro Pesquera.
  
  Aleksa Bracic is a very jolly man...
  ... capable of creating awe inspiring stuff before you know what hit you.
  153
  154
  
  Weapons,
  Tools,
  Suits,
  and Others
  155
  156
  
  Four spreads of assorted drones, items 
  and weapons, by Vukasin Bagic.
  157
  158
  
  159
  160
  
  161
  162
  
  163
  164
  
  Due to the artificial limitation imposed by both 
  the Iz’kal and the Corvo to true AI, robots in FAITH 
  are pretty limited and basic. In this spread we can 
  see a few of them, illustrated by Tyler Ryan (left 
  page) and Marco Brunelleschi (this page).
  The latter is the Docbot, a robot that offers 
  medical assistance on the battlefield. A cute 
  addition to an oftentimes grim world.
  165
  166
  
  This transformation from 
  sketch 
  to 
  illustration, 
  by 
  Dmitry Vishnevsky, must be 
  one of the best we’ve ever 
  gotten. Talk about vision and 
  talent.
  On the page to the left, an 
  imposing aircraft created by 
  Dan Matthews, along with its 
  detailed, 3D sketches. 
  167
  168
  
  Graphic 
  Design and 
  Cover Art
  CONCEPT 1A
  169
  170
  
  X
  X
  X
  X
  X
  X
  X
  X
  X
  X
  X
  3X
  3X
  2X
  2X
  2X
  2X
  2X
  CONCEPT 2
  BONUS CONCEPT
  As you can see in these images, Aleksandra Bilic takes the creation of logos very seri-
  ously. To make FAITH’s iconic emblem, she hand-drew several options and created their 
  vectorial counterparts. The finalized logo has an eye in the “i” to symbolize the Labyrinth, 
  the massive wormhole at the center of the FAITH lore. 
  171
  172
  
  The cardboard character-boards 
  that came with the original FAITH 
  boxset were also designed by Alek-
  sandra. She came up with a very 
  clever idea to divide the attributes and 
  skills in a left-right manner that re-
  flected the duality of the human brain, 
  but sadly, due to production reasons, 
  this idea did not come to fruition. The 
  final version is closer to the one we 
  see on the right, with a landscape 
  orientation.
  A FEW QUESTIONS FOR ALEKSANDRA BILIC
  TELL US A BIT ABOUT YOUR BACKGROUND AS A GRAPHIC DESIGNER. HOW DID IT ALL BEGIN?  
  From my early age and teens I was very into creative stuff - playing music, dance, making graffiti, sewing my own 
  clothes. But back then, I still didn’t know that design will be my occupation. I wanted to be a surgeon, a diplomat, also a 
  journalist, actress, history or philosophy teacher. Dreams and possibilities were endless. Then graphic design somehow 
  found me. At first, I did it for fun, for family and friends. During university years, I had to support myself so I landed a first 
  job that was website UI design. Then I got an offer to be an in-house designer for one cosmetic company. After 5 years of 
  working there, I figured I can’t do regular hours job and went freelance. I love the variety of jobs now - this gives me lots 
  of opportunities to learn new things and meet interesting people!  
  HOW DID YOU START WORKING FOR BOARDGAMES AND RPGS?  
  I’m also a nerd and passionate gamer. When my husband approached me with an idea of creating a board game it 
  seemed like a perfect synthesis of all of my passions - games, design and him :)! And Machina Arcana was born. After its 
  success on Kickstarter, people started contacting me to help them with the graphics for their games.  
  WHAT ARE THE KEYS OF DESIGN FOR BOARD GAMES? WHAT ASPECTS NEED TO BE TAKEN INTO ACCOUNT THAT DON’T 
  HAVE TO BE IN OTHER AREAS OF DESIGN?  
  Just having an outstanding illustrations, don’t necessarily make a visually appealing game. Board game graphics are 
  more than a pretty frame around the illustration. Functionality is the most important thing - readability, intuitiveness, 
  clear iconography, colour coding, choosing the right typography... This all have to work together to serve game mechan-
  ics. Graphics also have to work hand-in-hand with an illustration to make the game one visually cohesive unit. You also 
  have to think about possible expansions so they can fit the base game, but still have an unique artistic feel. -
  WHAT IS YOUR FAVOURITE PIECE OF DESIGN (CARDS, LAYOUT, SYMBOLS...) YOU’VE CREATED FOR FAITH AND WHY? 
  The FAITH logo design! From early sketches I had a feeling that I’m on the right track and that this is it. I love how it 
  works in both versions - clean black&white and illustrated.
  WHAT SOURCES OF INSPIRATION DO YOU FOLLOW FOR YOUR FAITH DESIGNS?
   Sometimes I’m using Pinterest. Starting with obvious things, it can take me to the places I haven’t imagined. Watching 
  game galleries on BGG can be limiting to some extent while searching for a fresh approach and new ideas. Movies are 
  big source of inspiration for me. I’m a SciFi fan and secretly wanted to do a SciFi themed game. When I was approached 
  by Burning games to make a design for FAITH it was a wish come true. That was “the excuse” to watch some of the SciFi 
  movies once again - Blade Runner, Star Trek series, Minority Report. 
   WHAT HAS BEEN THE MOST CHALLENGING PIECE OF WORK YOU HAVE DONE FOR BURNING GAMES? 
  That was definitely the big Mayan sundial for Dragons Conquer America logo. That was an ambitious project with so 
  many details that my hand hurt while drawing it :) At the end, we had to narrowed the details down to have more readable 
  logo.
  IF YOU HAD TO CHOSE ONE BOARD GAME FOR ITS GRAPHIC DESIGN (APART FROM THE ONES YOU’VE CREATED) WHICH 
  ONE WOULD IT BE AND WHY? 
  Oh, that’s a hard question, and I cannot name only one! I love the cleanliness of “Time Stories” and cohesiveness of 
  “This War of Mine”. When it comes to something that fits more to my style I would mention the graphic design of Lord of 
  the Rings, Game of Thrones, Elder Sign card games, and the Witcher adventure game.
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  Cards are one of the main aspects of FAITH, 
  both the playing cards and the NPC/Equipment 
  ones. Aleksandra is the brain behind all their 
  design elements, from the backs of the cards to 
  the fronts, from the suits to the different stat-
  symbols. The results are memorable and unique.
  The logos for the main megacorps, clans, factions and compa-
  nies of the universe of FAITH have been created by Javier Alaiz, 
  the co-designer of our first boardgame, Ether Wars.  
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  The cover of the original FAITH 
  Core Set depicted in this spread 
  was created by none other than 
  Milan Nikolic. It depicts a desperate 
  scene in which a corvo, an iz’kal and 
  a wounded human, the three initial 
  playable species we designed, are 
  fighting off a group of ravagers.
  Thanks to the square format of 
  the box, we were able to choose a 
  very interesting angle that gives a 
  very distinct feeling of dreadfulness 
  and inevitability: these poor fellas 
  are going to be eaten... or are they? 
  It will be up to the group who plays 
  that story!
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  The cover of the Core Book of FAITH has 
  been created by Leonid Kozienko, one of the 
  most reknowed illustrators in the world and 
  author of many concepts for games such as 
  Halo 5. 
  The process to create the final piece was 
  long and not without hiccups. It started with 
  the draft that you can see to the left.
  Then, Leonid went on to create a full on 3D 
  rendering of both the cityspace in the back of 
  the picture and the car in front of it. You can 
  see the results in this and the following spread.
  Sadly, we felt that something had gone 
  missing from the draft to that iteration, so we 
  asked Leonid to go back to the drawing board 
  and the results can be seen on pages 182-183. 
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  When we approached the cover of the FAITH Core Book, we had a clear idea of what we wanted; an illustration that would state, as loudly 
  as possible, how people actually played FAITH. 
  The power struggles of megacorps, the cold war between the Iz’kal and the Corvo, and even the Ravager menace, are the backdrop of the 
  setting, but the actual gameplay revolves around the consequences of all those plot points.
  Smuggling goods from the Corvosphere into the State; taking advantage of the inner workings of the megacorps; setting up traps to catch 
  outlaws from the Human Front... those are actual play-things. 
  In short, for the cover of the core book, we wanted to created a fun and exciting group of quirky PCs. We hope this illustration will inspire 
  you to play exciting, quirky adventures, and we look forward to hearing all about them!
  We asked Leonid to comment on the creation process: “The initial pitch came from Burning Games team, as they needed a cover for the 
  upcoming FAITH rulebook. The concept was to depict a group of adventurers (of Human, Corvo and Raag species) trying to escape on a vehicle 
  from Iz’kal police. The references were various real and fictional vehicles and action pieces, as well as species sheets (you can find them in 
  this artbook).” (continues below)
  “Almost immediately I remembered images from Shadowrun and Cyberpunk 2020 games - surprisingly enough there isn’t much modern 
  sci-fi RPGs on the market. Although they were cool, I couldn’t rely just on them because FAITH world is different and unique. Another problem 
  came from the fact that we had a bunch of characters packed in a flying vehicle. It sounds simple but once you start sketching you realize that 
  your options are limited. You can establish a great looking shot for the vehicle and notice that your characters are completely lost. Or you just 
  pull out a cool character shot where your vehicle is barely seen... As an artist, you have to find a compromise between these limitations and 
  meeting the requirements of the cover art at the same time!
  For FAITH cover it was back and forth process, until we found a satisfying solution. The adventurers group expanded into four characters 
  with addition of Iz’kal girl, hanging over and firing back at the pursuers. The original vehicle looked more like an open flying car and was 
  scrapped for more open, motorcycle-like design. To keep up with the changes I organized things into layers and there are about a hundred of 
  them, ranging from background neon ads and city lights to character details and effects.” - Leonid Kozienko
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  MILAN NIKOLIC
  I was born in Serbia where I still live. Since I was a kid I was always drawing and 
  playing with my toys, I would put them all over the living room making a mess out 
  of it. I  spent my evenings creating and exploring the stories of those toys. After 
  leaving childhood behind, I moved to computer games, which keep the house way 
  tidier. I started drawing to create my own vision of  the games I enjoyed, emulating 
  the artists who fascinated me. I went on to study Graphic Design at university, and 
  I quit drawing for a while, until I saw Anthony Jones’ tutorials and his art brought 
  the need to create and explore back to me - I stopped studying graphic design and 
  moved to Belgrade to work on my portfolio. Soon after, I got my first job on Whale-
  sharkstudio where I still work. 
  I work as a freelancer for Games Workshop in their Warhammer 40K line, and for 
  West Studio, where I make concept art for all kinds of of triple A video games.
  I started working on Faith when I was working on my portfolio and I wanted to push my limits and explore what I could 
  do creatively. It was fun to work on it as I could create new species and their look from the ground. We have spent almost 
  a year working on this, which is crazy! This is the longest project I have ever worked on.
  JAMES COMBRIDGE
  I am a self-taught concept artist and illustrator from Australia specializing in 
  environment design. I have a passion for creating worlds, telling stories and chal-
  lenging myself as an artist. I’m open minded and naturally curious about the world 
  around me, absorbing scientific knowledge and recycling it as inspiration and design 
  influence. 
  I grew up playing games, watching science fiction films and reading fantasy novels. 
  Naturally this influenced my art over the years and now I am fortunate enough to be 
  able to create worlds that as a child, only existed in my imagination. 
  My work for Faith was a great chance for me to explore various sci-fi concepts 
  and the lore of the game is so rich so there was a lot of material to pull inspiration 
  from. It was important particularly during the sketching phase of each card to keep in mind that the illustration had to 
  work on a small, card sized scale. Planning ahead was a real time saver here. I’ve found that the illustrators and writers 
  of a game often inspire each other with ideas so being flexible during the illustration process really allows a piece to 
  evolve into something greater than it would have been otherwise. The illustrations I created for Faith really showcase that 
  collaborative process. 
  ANTHONY JONES
  I’m Anthony Jones, and I’m the creator and owner of Robotpencil. It’s an online 
  mentor driven school where I help and mentor others to achieve their goals as being 
  digital artists for the entertainment industry. 
  I have worked for many companies since 2008 including, Blizzard, Sony Santa 
  Monica, Hasbro, Digital Domain, Paramount, Wizards of the Coast, and Applibot, to 
  name a few. Also I have taught at many other schools including Gnomon, LCAD, 
  OTIS, and Schoolism. All these experiences have allowed me to really refine both 
  my skills in being a concept artist, but also an educator. 
  Working with Burning Games was absolutely delightful, as not only were they 
  very open to the artist’s creative intuition, they also welcome the practice of sharing 
  your work online for self promotion. Their art style was highly driven by one of my 
  most beloved students, Milan Nikolic, and so I was delighted to be a part of their project Faith. It was also great to see how 
  they embraced our other students and allowed them to work on their project, give them feedback, and help them get a 
  sense of what freelance work was like as well as get their works promoted and paiy them for their hard work. My personal 
  experience with them was amazing in the fact that they were really easy to work with and a lot of fun. I look forward to 
  work with them again in the future, and am inspired by their devotion to original work.
  MARCO BRUNELLESCHI
  I am a concept designer based in Toronto, previously a matte painter for TV and 
  film, as well as a 2D generalist for mobile games. I’ve had the amazing good fortune 
  to always know that I wanted to be an illustrator, or at the very least to draw some-
  thing for someone, somewhere, for money. I owe this unnatural focus to one par-
  ticular day when my father bought me a book called “How to Draw the Marvel Way!” 
  I thought I found the maps to hidden treasure, and I brought it home hoping to 
  immediately decipher it’s mysteries. I sat down at dinner and drew the character 
  Wolverine. I cried at how bad it was. Thankfully I kept at it, and I think my dad would 
  be proud of how far I’ve come as he looks down from his perch in Valhalla. Although 
  there’s much more to discover and learn, this fantastic journey has brought me to so 
  many wonderful people and places and for that I am eternally grateful.
  The world of Faith touches the core of what interests me. Role playing sci-fi invokes the vivid imagery of worlds like 
  Blade Runner or Star Wars, mixing magic with technology in ways that we can buy as an audience. I’ve loved pondering 
  about what kind of decorations a Raag Soulbender might be carrying, as a paragon and effigy to her declining culture; or 
  just how a Ravager can hack into complicated tech with the power of his mind. I’ve enjoyed this work immensely and I’m 
  excited for what new characters and worlds we’ll create and explore.
  ALEKSA BRACIC
  Aleksa Bracic, experienced in various aspects of visual art is primaprily a concept 
  designer and modeler. He was born and raised in Belgrade where he works as a free-
  lance artist. Lex studied in Italy, where he absorbed different cultural  influences. 
  The mixture of Balcanic strict, almost martial discipline and the Italian aesthetic 
  identity is responsible for his visual artistry.The most striking trait of his work is 
  versatilty - which largely marked his work. His multiple creative passions include 
  traditional paintig  and automotive design and the stratification of his knowlegde and 
  interests shuffle and create a unique artistic expession.
  TYLER RYAN
  I was born in a small town outside of Ottawa in the countryside. I spent most of 
  my childhood days either playing outside, playing video games, or drawing. I enjoyed 
  drawing very much but I never took it quite seriously. It’s not until later on where my 
  love for video games really pointed me towards the world of CGI.
  In college, I took 3 years in 3D animation thinking that it was what I needed to work 
  in the video game industry. The classes were great but I mostly saw myself drawing 
  and painting concepts instead of the actual 3D work that was assigned to us. After 
  the 3 years of college, I realised that making concept art is really what i wanted to 
  do. Since then, I have been challenging myself to draw every day and really focus on 
  becoming the best artist that I can be.
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  SHEN FEI
  I’m a concept artist and illustrator from Malaysia. As a kid, I was always fasci-
  nated by comicbooks and photos, I would follow my parents around just to take in 
  the sights. This early childhood fascination of mine slowly grew into a strong desire 
  to illustrate a world of my own, telling rich stories with my art. After graduating 
  from secondary school, I took an illustration course in an art academy. I started my 
  freelance career in the entertainment industry after  working in a few local studios.
  In 2015 I found FAITH through an art forum, and I was attracted by it’s beauti-
  ful art. I’m glad that I have the chance to illustrate the world of FAITH and I enjoy 
  working on it as I was given a lot of freedom and creative control.
  YONG YI LEE
  I was born and raised in Singapore, a tiny country in South East Asia, and due to 
  circumstances during that time, Singapore relied heavily on trade, resulting in glo-
  balisation. And, besides financial gains, globalisation brought in an influx of amazing 
  games and cartoons!!
  More than just growing up with Power Rangers and Ninja Turtles, kids in Singa-
  pore were also introduced to entertainment from other countries like Japan, which 
  brought forth Doraemon, Kamen Rider and Ultraman. And with all these awesome 
  products around, I was hooked. Games and storytelling became a part of my life.
  I then began my education in the entertainment industry, first in the field of anima-
  tion, and upon discovering more, I focused on concept art and illustration. Though 
  the journey had been mostly arduous, the entertainment industry has provided 
  amazing returns that I could not have found anywhere else.
  I mean who gets to draw robots for a living right? :D
  In this day and age where most games are made digitally, I was excited to be part of a team that still designs games to 
  be played in the physical form. Board and card games with physical objects to play around with are always cool. Further-
  more, Faith has different planets, aliens, sci-fi weapons and suits! I’m sold!
  LUKASZ PODUCH
  When I got the proposition to work on Faith I was really excited, and I wasn’t wrong! 
  It was an amazing experience to work alongside great artists like Anthony, Milan, 
  Marco, and Tyler (and anyone else that I might have forgotten or I do not know about). 
  I think what I liked most about working on this project is how everyone was unified 
  when it came to the design and overall feel of the characters. Seeing how every part 
  came together to form this cohesive whole ... it was awesome.
  IVAN JOVANOVIC
  I was born in Belgrade, Yugoslavia. That year the Times magazine made The 
  Computer “Machine of the Year” and Spielberg’s E.T. was showing in the movie 
  theaters. Just like a typical kid, I too had occasional daydreams of becoming an as-
  tronaut and exploring worlds beyond the one surrounding me. Of course, a lot of 
  things since then derailed me from that goal, and the astronaut gig didn’t pan out.
  So I chose the next best thing - I became an engineer. However, having done that, I 
  soon realized that crunching data in an office for the rest of my working life wouldn’t 
  bring me any closer to seeing Earth from orbit, or traveling to the moons of Jupiter.
  So I did the next best thing - I decided to become an artist. And finally I was able 
  to regain that kid’s sense of wonder and embark on a journey of discovery to other 
  worlds, the worlds within me. These worlds might be as elusive as the physical ones, but as the saying goes - it’s not about 
  the destination, it’s about the journey. I hope there will be plenty of things to see along the way.
  VUKASIN BAGIC
  I am concept artist, illustrator and graphic designer working in the entertainment 
  industry.
  Drawing was my fascination since a very early stage of my life. Literally any 
  movie, cartoon or comicbook would make me draw dozens of sketches  for hours. 
  Soon, all of these little kindergarten scrapbooks were replaced with my elementary 
  school notebooks. At that point, I was pretty sure that drawing wasn’t just a hobby. 
  I enrolled in high school of art and quickly made many friends with the same inter-
  ests, which pretty much tied me to this profession. After finishing my degree in the 
  Academy of Arts I started working in Whaleshark studio.
  By now, I have been working on numerous game character designs, concept art, as 
  well as trading card game art. I found out about “Faith” after seeing some stunning 
  pieces of my good friend and colleague Milan Nikolic. He invited me to take a part in the project, and I agreed, which was 
  undoubtedly a great choice. The game itself abounds with the whole spectrum of great organic scifi designs, and all the 
  artists working on it already gave a really specific key to it, which was pretty fun and challenging to follow during work. I 
  also had that luck to constantly be in touch with the creators of the game who are  a great, patient, and supportive team, 
  willing to hear and reconsider every advice on design I had as an artist. It is a great honor to gain new experiences through 
  projects like this one.
  EDUARDO GARCÍA
  I am an illustrator/concept artist currently working in the entertainment industry.
  I studied at Digipen Institute of Technology in Bilbao, Spain, where I discovered how 
  much I love creating new and all kinds of worlds, whether by animating or painting.
  I started working as a freelance illustrator during my studies, that is how I was 
  first contacted by Burning Games to create a couple of illustrations for Faith. The 
  style set by previous artists and the story was something which made creating the 
  images even more fun.
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  HANS JENSSEN
  Born in Denmark and of Dutch/Norwegian descent, Hans Jenssen has been in the 
  UK most of his life and now lives in a small village in the beautiful county of Devon 
  with his partner, teenage son, two dogs, a cat and three chickens. As a child he was 
  obsessed with aeroplanes and loved drawing, spending much of his time sketch-
  ing air battles between Spitfires and Me 109’s which in the 1960’s and ‘70’s was his 
  equivalent to the hours a young person today might spend playing video games. As 
  he got older, he became fascinated by cutaway illustrations in publications like Eagle 
  Comic and later the work of artists like Mike Badrocke, Frank Munger and others who 
  exposed the inner workings of all kinds of machines (but mostly aircraft). Despite 
  some ill-advised diversions from this path, Hans eventually went to art college and 
  studied technical illustration. The first few years of his career was spent mostly 
  illustrating gearbox catalogues for an engineering company but in the early 1990’s 
  began a long and successful relationship with publishers Dorling  Kindersley. He 
  worked on a series of books called “Look Inside  Cross-Sections” and from 1997 spent over a decade illustrating the  famous 
  “Star Wars Incredible Cross-Sections”  with fellow  artist Richard Chasemore, and from that time on has spent most of his 
  time in various science fiction universes.
  I’m Leonid Kozienko, digital artist and illustrator from Russia. I work for the en-
  tertainment industry since 2001, focusing on different aspects of production from 
  visual development and concept art to illustration and marketing art. My influences 
  are varied from Japanese manga and anime to vfx laden movies, games, books and 
  music. I paint different things from curvy fantasy sorceresses to spaceships and 
  robots. Although I can work in different styles, my approach seems to gravitate 
  towards more cinematic look and feel, thanks to certain movies and game cinemat-
  ics (mostly by Blizzard, Digic, Square Enix and some others). In my professional 
  career I worked on Star Wars, Lord of the Rings, Warhammer 40,000, Halo, Final 
  Fantasy and many other projects.
  I treat every project as a journey and learning experience. When Burning Games 
  approached with FAITH book cover, I don’t have to think twice. The concept looked 
  both fun and challenging, but what I didn’t expect is how passionate and enthusiastic Burning Games would be. Their 
  dedication and attitude towards FAITH and gaming community is impressive and inspirational.
  ZABI HASSAN
  I believe I have written a lot about me and my artist journey so far, but here it is 
  in case you have missed it. So, in a summary, I grew up just like most artists out 
  there; did art as a hobby, enjoyed it, people said it wasn’t a real career, turned it into 
  a career regardless. The only difference between my story and others is that I grew 
  up in Uzbekistan and moved to Canada, Toronto at the age of 10. 
  Art really became my serious career focus in 2014/2015. Since then things pro-
  gressed exponetially thanks  to the amazing people I met since then till now. The 
  only unexpected thing that came up for me was starting Edge Control with my best 
  friend and my oldest brother. Edge Control is our company we use as a platform 
  for our studio & event, called Edge Control Expo (ECE). Like the name shows, ECE, is 
  an annual expo where we bring industry professionals to give lectures, demos and 
  portfolio reviews over the course of two days. Our long-term goal is to make a studio that will be eventually creating its 
  own content. Even if we aren’t there yet, Burning Games has given us the opportunity to take our first step towards it. 
  Cheers to the great team of Bruning Games and their amazing accomplishments.
  FRAGAN TANGUY
  Ever since I was a kid I draw, from when I was really young. I always had a pencil 
  in my hand and I remember when I was asked the famous question: “What do you 
  want to do later? I always replied:” When I grow up I want to work in art”. At the very 
  beginning I wanted to do comics, then manimation, then by learning a little more and 
  growing up I knew that illustration and concept art were really what I liked most 
  and best suited me. I have a very cinematic vision of everything that I draw. Perhaps 
  it was due to the studies of cinema and literature that I followed in high school. 
  Then, after these studies I directly joined the Pivaut School in Nantes, an art school 
  rather renowned in France, where I integrated the narrative drawing and illustration 
  section. I spent four years there. Four years working relentlessly, no breaks during 
  the day, from morning till 11pm, and only resting the weekend.
  I have two ultimate goals: the first is to have at least the level of these masters 
  of illustration and concept art today such as: Wojtek Fus, Anthony Jones, Marko 
  Djurdjevic, Piotr Jabłoński, Igor Sid, Milan Nikolic, Adrian Smith, Yang Qi, Nivanh Chanthara and many others. Even if that 
  is impossible, and useless to imitate their style, I want to understand what they have understood and integrate it in my 
  images with my own mistakes. It’s a life-long training; I know I will never finish learning. The second is to prove wrong 
  all those who have told me and who still think that it is impossible to live from art. I want to prove to them that art is 
  magnificent, that this lifetime learning that they miss, is rich in subtleties that a person lambda will not be able to see. By 
  being convinced to reach 200%, we get there. It does not matter how long it will take, we must continue. To believe 100% 
  is not enough, we must see beyond and must not think of even 1% of negativity. For that I am very glad to have my family, 
  my girlfriend and my friends to support me from the beginning and to help me to stay the course.  
  ARTHUR HAAS
  I was born in Holland in 1969 and have been living in Amsterdam since 1990. I didn’t 
  start out as an artist at all, not in the sense of painting anyway. Instead I choose 
  photography as a means of combining creativity with a reasonable prospect of 
  actually earning some money. I was too scared to do something as insecure and 
  daring as painting. Ofcourse I ended up doing just that anyway, I just had to. There 
  were (and still are) these insane images in my head that could not possibly be made 
  by photography and that I just had to put down somehow. Somehow it&#39;s always 
  been scifi which makes me want to create impossible stuff. So I started trying to do 
  exactly that. With paint it was quite a labourious proces, often taking me a month 
  tocomplete a single painting. Frustrated I started to look for a different medium, 
  a faster one if possible. That’s how I ended up with Photoshop and my first tablet. 
  Blown away with the seemingly endless technical tricks this programm offers I dove 
  into it and have ever since. 
  I was voted “Master of science fiction” in Exposé 7, also published in Exposé 8,9,10 and 11 and have made tutorials for 
  digital art masters 9 and 10. Furthermore I work as a freelancer illustrating bookcovers,I d onceptart for film and games 
  and paint and exibit oil paintings. At the moment I like the freedom of working freelance, to be able to pick projects that 
  appeal to me.
  LEON TUKKER
  My name is Leon Tukker,  I am a concept artist and environment designer based 
  in Utrecht, the Netherlands. I have been working as a freelancer since a year now. 
  As a kid I used to play a lot with Lego’s, and I guess that is something that sparked 
  my imagination as a kid. After finishing game design school I am trying to pursue a 
  career as a concept artist/illustrator. How I would typically work is that I start mod-
  elling a scene in cinema 4D. 3D is a great tool because it allows you to come up with 
  complex shapes without having to think about lighting, perspective and composition 
  as much. I usually try to solve all of my design problems in 3D before importing my 
  render into photoshop to bring it to a finished and painterly state. This workflow is 
  quite fast and allows me to quickly come up with ideas. My work is typically geared 
  towards the Sci-Fi genre. I would therefore say that Faith is absolutely great to work 
  for. Movies like star wars and guardians of the galaxy inspire my work greatly, as 
  well as books by Douglas adams like: the Hitchhikers guide to the galaxy. Things we 
  can find on our earth that look very alien really spark my imagination, coral reefs for 
  example. For my images I look a lot at futuristic architecture. work by Calatrava and Zaha Hadid is amazing in my opinion. 
  I really favor vibrant color schemes and unusual shapes. In my images I try to convey giant scale and strange concepts. 
  LEONID KOZIENKO
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  ERIKAS PERLIKOVSKIS
  Hi all. I am Erikas, a digital artist and illustrator working from Vilnius, Lithuania. 
  I have gained my bachelor’s degree in Vilnius Academy of Arts in 2009. Until then I 
  had already began freelancing in the illustration area. During the years I have gained 
  a lot of valuable experience. I developed problem solving, time management skills 
  and a strong work ethic. I learnt to work individually, although working in a team is 
  not uncommon in my experience as well. Thus a time has come and a little bit more 
  than two years ago I have founded my own digital art studio - Goodname. A small, 
  but efficient team of illustrators and concept artists, who have a wide range of 
  artistic backgrounds and experience working in the industry. Goodname’s focus is 
  top quality 2D art for films and video games. We especially enjoy bringing fantasy 
  and sci-fi settings and characters to life so as you might have already guessed it is 
  a pleasure to work on such projects as Faith. When we are not painting however we 
  get ourselves inspired by going to cinema or battling in an airsoft field.
  ALEKSANDRA BILIC
  Although her main ambition is to find the meaning behind number 42, Aleksandra 
  busies herself in the meantime with designing the world that is thoughtful, consid-
  ered and aesthetically pleasing. With over 10 years of combat experience in graphic 
  design industry, Aleksandra is a multidisciplinary mercenary with a wide range 
  of design skills. A fortunate turn of events mixed with nerdy passions led her to 
  specialize in creating graphics for board games. She’s a laid-back character with an 
  optimistic outlook on the life, a dreamer, a doer, zombie fan and religulous chocolate 
  eater. Originally Croatian born and bred, she relocated to Dublin, Ireland because 
  she thought it would be nice to experience a bad weather for a change. Her weapons 
  of proficiency are Adobe Photoshop, Illustrator and Indesign. Alignment - lawful 
  neutral When not saving the world from bad design, Aleksandra enjoys chick flicks, 
  cooking, playing music and making random things with her daughter.
  JOÃO FIUZA
  My mother calls me João Fiuza but in January 2013 Inkognit was born, as did the 
  drive to become a storyteller. With the focus on becoming a creature/character 
  artist, i’ve led myself to paths that may not be the most fortuitous to what I do now 
  but were definitely a learning experience. 
  From studying Computer programming which led me to find ZBrush, and because 
  of it, into a 3d and animation course which in turn landed me my first in-house job 
  as a Rotoscope artist and Post Production. Being mentored by Marc Simonetti and 
  THU founder André Lourenço my path began to follow a more streamed and focus 
  course which now led to becoming a Freelance illustrator and concept artist working 
  for companies like Cryptozoic, Monte Cook Games, Burning Games and a few others. 
  As a freelancer came to the availability to work on my IP in between projects. The 
  Silver Giant is the name of the whole project but at the moment I’m focusing on the 
  subproject Chronicles of the last Templar. It tells the tale of a Goblin with a spark within him able to banish the darkness 
  and mhas the purpose of bringing the templar order to light once more. Beyond the office walls, my remaining time is 
  often spent reading, practising photography or at mcoffee with friends. Personal and professional growth which will have 
  a direct impact on your art often happens outside work so I’m trying to get better at balancing that.
  HUEALA TEODOR
  My name is Hueala Teodor, I am currently working full time as a concept artist in 
  the AAA game industry, started my carrer working on various games for mobile 
  platform and moved up to create concept art for games such as Watchdogs 2. I 
  enjoy learning and sketching, also did storyboards, illustrations for boardgames 
  and designs vor various freelance companies like Guerilla Films Australia, Legion of 
  the Cow,Burning Games and others. 
  Some of the projects I’ve woked on are :  Don’t be squared -Mobile platform , 
  Watchdogs 2- PC and Console ,and currently working at Ubisoft. I get inspired by 
  other people that fight for what they love to do,  also I don’t play much games but 
  I actually take a peak on gameplays and watch movies to get some of that inspira-
  tion. I like the actual craftsmanship of drawing and I still try to improve it every day 
  because art is a neverending journey full of good and bad.
  Carlos GQ is a multidisciplinary author, not content with boxing himself in in any 
  type of media. Having studied Film Studies at the University of Arts in London, he 
  directed various short films before landing on the altogether saner realm of board-
  games and RPGs.
  His work in Burning Games is squarely rooted in the creative side of the job, and 
  ranges from designing games to making them more tangible by working with illus-
  trators and graphic designers.
  The inclusion in this book is merited by his credit as “art director”, a fancy title 
  that in essence means “doing the cool job”: coming up with art ideas, finding the right 
  artists to develop such ideas, and stearing them until the result is quite perfect. It’s 
  the equivalent of a child coming up with, and testing, all sorts of candy.
  JAVIER ALAIZ
  A beta-tester of life, game designer, graphic and UX/UI designer, psychologist, 
  talent manager, Ether Dev founder (and Ether Wars head designer), and professional 
  chef.
  Originally from León, Spain, and now living in Melbourne with my beautiful partner, 
  I’m starting my freelance activity and studying. I’ve been passionate about games 
  and especially the gaming scene and its possibilities since before I can remember. My 
  goal is to keep growing as a game designer and graphic artist, making an impact on 
  the industry (in both table and screen worlds) in the future by providing high-quality 
  assets and inspiring ideas for great projects around the world.
  As a sci-fi nerd, I instantly fell in love with the world of FAITH, its rich context, and 
  original species. Taking part in creating the iconography for this amazing world has 
  been a great adventure. I used inspiration from other game and sci-fi sagas as well 
  as a variety of native and aboriginal cultures. I tried to create a defined style, mainly graphic, for each faction and crafted 
  individual iconography for each element that still fit the general feeling of this amazing game.
  It has been an absolute honour to share the experience of working on FAITH with such talented artists and designers. 
  Hope you enjoy this unique game that Burning Games has cooked up with all of their love and dedication. Have FAITH!
  CARLOS GÓMEZ QUINTANA
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SOURCE: textdata/thevault/Faith/FAITH - The Sci-Fi RPG - Deluxe Artbook.pdf