T H E C O M P L E T E G U I D E T O C R E AT I N G

V I S UA L E F F EC T S
WITHIN LEAGUE OF LEGENDS

P R E PA R E D B Y T H E
LEAGUE OF LEGENDS VFX DISCIPLINE
CONTENTS

I OVERVIEW
Our philosophy and goals towards creating compelling visual fx

II GAMEPLAY
Areas of focus, representing the gameplay space, and level of importance

III VALUE
Determining and using value ranges

IV COLOR
Color relation, hue usage, saturation levels, and color palette examples

V SHAPES
Shape language, shape silhouettes, and illusion of movement

VI TIMING
Communicating gameplay, animating accurate movement, and reducing visual noise

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 SECTION I

OVE RV I EW
SECTION I // OVERVIEW

OUR PHILOSOPHY
Whether it’s magic, fire, smoke, explosions, or the occasional
sparkle, the visual effects discipline at League is tasked with bring-
ing all these elements to life. They understand game design and
translates artwork to visualize the magical world of Runeterra. Over
the years, we have developed a unified visual style that’s set to hit
a core group of goals.

VFX GOALS:
— P ROV I D E V I S UA L CL ARITY FOR G AM EPL AY

— MI N I MI Z E V I S UA L CL U TTER

— D E L I V E R V I S UA L EFFECTS THAT PROM OTE A CHAMP I ON ’S THEMES

— CR E AT E E F F EC T S THAT SU RPRISE AND D EL IG HT PL AYERS

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 SECTION II

G A M E P L AY
S E C T I O N I I / / G A M E P L AY

DEFINING GAMEPLAY BY
CREATING AREAS OF FOCUS
VFX is closely connected to gameplay and visual design. Our VFX artists
must have a deep understanding of League of Legends to clearly translate
gameplay into a visual experience that is compelling and readable. In order
to do that, we’ve defined a series of primary and secondary elements for
each experience we create. This serves as our guiding light to ensure every
visual effect promotes gameplay clarity by emphasizing the focal point of
the effect, as well as reducing overall visual noise that may
confuse players while it occurs.

PRIMARY ELEMENT RULES

— I T I S A N E F F EC T ’ S FOCAL POINT

— I T S E RV E S A S T H E SPEL L’S M AIN PU RPOSE

— T H E E F F EC T CO MMU NICATES G AM EPL AY CL EAR AN D ACCURATELY

SECONDARY ELEMENT RULES PROJECT LEONA’S W

Leona’s W (Eclipse) forms a shield around her that explodes. The primary
— T H E E L E ME N T E N HANCES A CHAM PION OR SPEL L’S THEMATI C element should be the border of the Eclipse spell; in order to avoid the
— I T S U PPO RT S T H E PRIM ARY EL EM ENT BY PU SHING VALUE AN D SATURATI ON explosion, players must be able to easily identify the effect’s radius.

— T H E E L E ME N T U T I L IZES M U LTIPL E HU ES AND A WIDER SATURATI ON RAN GE TO The secondary effects are the faint electric energy within the circle. They
E N H A N C E A N E F F ECT’S OV ERAL L VISUAL APPEAL are used to enhance the project skin line’s theme.

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S E C T I O N I I / / G A M E P L AY

AREAS OF FOCUS
A guide on how to define primary and secondary elements

PRIMARY ELEMENTS SECONDARY ELEMENTS

— H I G H VA LU E RA N G E — STRONG CONTRAST I N VALUE OR SATURATI ON — LOWER VAL U E RANGE — S MAL L S I Z E

— C LE A R S I LH O U E T TE — HIG H OPACITY — BLURRY S I LHO U ET T E — L OW O PAC I T Y

— ST RO N G S H A P E — INTENSE M OV EM EN T — S I MP LE S HA P E — S U B T L E MOVEMENT

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S E C T I O N I I / / G A M E P L AY

ACCURATE REPRESENTATION OF
AREAS OF EFFECT
Clarity is paramount for a competitive experience that is meant to be played
and watched. Providing an accurate representation of gameplay allows
players and viewers to clearly understand and anticipate gameplay.

INACCURATE REPRESENTATION
The radius of Teemo’s mushroom explosion is about
600 units. However the mushroom’s explosion only
covers half of its radius and an area indicator is missing.

ACCURATE REPRESENTATION
Omega Squad Teemo shows the AoE with a subtle
ring, and the explosion was made to accurately
communicate the area of effect.

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S E C T I O N I I / / G A M E P L AY

ACCURATE REPRESENTATION OF
EFFECT HITBOXES
Clarity is paramount for a competitive experience that is meant to be played
and watched. Providing an accurate representation of gameplay allows
players and viewers to clearly understand and anticipate gameplay.

INACCURATE REPRESENTATION ACCURATE REPRESENTATION

Sona’s old ultimate covered a wider range than its DJ Sona’s ultimate shows the rectangular AoE clearly.
actual size. It often confused players when Sona’s The effect is shown at ground level so that the
ultimate missed a target but the visuals connected camera angle doesn’t affect its position.
with the target.

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S E C T I O N I I / / G A M E P L AY

LEVEL OF IMPORTANCE
An effect’s visual presence should communicate its degree of impor-
tance to players and viewers. For example, if a champion’s basic attack
effect had the same visual importance as her ultimate, it can confuse
the player or viewer. Also this makes the ultimate less satisfying.

In order to determine these levels of importance, we map specific

aspects of VFX to spells’ power spikes. This ensures that the form
matches the function of all visual effects. While determining an
effect’s level of importance, we evaluate 3 core components:

READABLE
Players and viewers can immediately understand an effect’s purpose

EMPHASIS
Visual effects direct players to focus on important spells while
reducing the visual noise in team fights

SCALE OF IMPORTANCE
Each visual effect should match its level of importance to gameplay

LUX BASIC ATTACK VS ULTIMATE

Since the impact of Lux’s Ultimate is so much greater than her
basic attack, it should always be visually louder.

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S E C T I O N I I / / G A M E P L AY

SCALE OF IMPORTANCE
The level of importance can be controlled by size, shape, timing, value, saturation
and opacity. The importance of each particle should be determined by the effect’s
level of impact to gameplay, as shown below.

IDLE PARTICLE BASIC ATTACK DEFENSIVE SPELL DAMAGE SPELL GAME CHANGER ULTIMATE
— LOW OPACITY — SMALL SI ZE — LOW SAT U RAT IO N — HIG H SAT U RAT IO N — H I GH SATU RAT I ON — H I GH E ST SAT U RATI ON

— BL URRY S H APE S — LOW O PAC IT Y — HIG H O PAC IT Y — H I GH O PAC I T Y — H I GH E ST OPAC I TY

— S UBTL E MOV E ME N T — B LU R RY SHA PES — C LEA R SILHO U ET T E — H I GH VA L U E RA N GE — H I GH E ST VA L U E RA N GE

— SU B T LE M OV EM ENT — CLEAR SILHOUETTE — L A RGE S I Z E

— I N T E N S E M OV E M E N T — I M PAC T F U L A N I M AT I ON

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 SECTION III

VA L U E
S E C T I O N I I I / / VA L U E

HOW TO DETERMINE VALUE RANGE BY EACH DISCIPLINE

VALUE RANGE
Manipulating value range is the key to communicating magical effects. UI VALUE RANGE
All magic and energy have a different level of value range and opacity to
ensure they represent the power levels of each visual effect correctly.

To make sure these stay cohesive throughout the game, we adhere to a

few guidelines when creating visual effects.

VFX VALUE RANGE GUIDELINES

— H I G H E R VA LU E RANG E D RAWS M ORE FOCU S
CHARACTER VFX
VALUE RANGE
— CO N T RA ST C A N CREATE A CL EAR AREA OF EFFECT VALUE
— AVO I D U S I N G 100% OR 0 % VAL U ES, AS IT CAN BE CON FUS ED RANGE
F O R T H E G A ME E N VIRONM ENT OR U I

ENVIRONMENT
VALUE RANGE

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S E C T I O N I I I / / VA L U E

VALUE RANGE IN CONTEXT

ENVIRONMENT VALUE VFX VALUE CHARACTER VALUE UI VALUE

RANGE RANGE RANGE RANGE

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S E C T I O N I I I / / VA L U E

ENHANCING MAGICAL EFFECTS

BY USING PROPER VALUE RANGE
In Master Arcanist Ziggs’s Bouncing Bomb, Pushing the value at the
center of magical effects can help to make the effects look more
powerful and magical.

ACCURATE REPRESENTATION
By pushing the value to the center of the bomb, there
is a clearer focus to the effect. This makes it easier
for players to notice the spell in team fights.

INACCURATE REPRESENTATION
With no visual “center” to the effect, it is difficult to no-
tice where the effect is going to deal the most damage,
as it falls into the background of the map.

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S E C T I O N I I I / / VA L U E

ENHANCING MAGICAL EFFECTS BY

USING ILLUMINATION
Illumination is the key to expressing a spell’s
magical nature. Pushing the effect’s value range
by adding a simple glow can greatly enhance the
expression of a magical effect.

INACCURATE REPRESENTATION ACCURATE REPRESENTATION

Without an illuminated effect applied, the effect loses With glow and illumination applied, there is so much
a lot of life and feeling of magic. more life to the effect. This also assists in conveying
the motion, direction, and duration of the effect.

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S E C T I O N I I I / / VA L U E

USING VALUE RANGE TO

CREATE AN AREA OF FOCUS HIGH CONTRAST
HIGH FOCUS

A visual focal point is created by contrast. When creating visual effects in

our game, value range is one of our strongest allies in creating that contrast.
When a desired effect can’t achieve the ideal area of focus we want, adding
a dark background manually can help to promote the effect. However this
practice should be used with caution; if overused, these effects can contrast
with other effects during teamfights.

LOW CONTRAST
LOW FOCUS

HIGH CONTRAST
HIGH FOCUS
ACCURATE REPRESENTATION
Dark Star Varus’ Q and Arclight Vel’Koz’ W are good
examples of using proper contrast to draw focus

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 SECTION IV

COLOR
SECTION IV // COLOR

THE IMPORTANCE OF SATURATION RANGE BY EACH DISCIPLINE

COLOR IN VFX
vvvvv
Color plays a huge role in defining the theme of a spell. In this section UI SATURATION RANGE
we’ll underline appropriate use of saturation levels, color relationships,
and basic color palettes for a few themes in League.

CHARACTER
SATURATION
RANGE
VFX SATURATION RANGE GUIDELINES
— H I G H E R SAT U RAT I ON RANG E CAN D RAW M ORE FOCUS VFX
— CO N T RA ST C A N CREATE A CL EAR AREA OF FOCU S SATURATION
— AVO I D U S I N G 100% OR 0 % VAL U ES, AS IT CAN BE CON FUS ED RANGE
F O R T H E I N - G A ME ENV IRONM ENT OR U I

ENVIRONMENT
SATURATION
RANGE

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 SECTION IV // COLOR

COLOR RELATIONSHIPS BETWEEN

CHAMPIONS AND THEIR VFX
A champion’s VFX has a higher and wider range of value and DRAGON SLAYER BRAUM
saturation range than its model.

MODEL COLOR PALETTE

VFX COLOR PALETTE

AETHER WING KAYLE
MODEL COLOR PALETTE

VFX COLOR PALETTE

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SECTION IV // COLOR

COMPLIMENTARY COLORS AND COMPLIMENTARY COLOR EXAMPLES

HUE USAGE IN VFX
It is ideal to use analogous colors, but when there are two
complementary colors in one effect, one of those colors must serve
as the secondary color. When two opposite colors are present in one
effect, those colors will always compete to be the primary element
(even when they belong to different value levels).

INACCURATE REPRESENTATION ACCURATE REPRESENTATION

Using compelementary colors with high opacity and high Bard’s Q has a desaturated purple color with low
saturation creates heavy noise in Lulu’s shield effect. opacity, balanced against bright yellow. By using a
Moreover, the intended focal point is competing with complementary color in the secondary part of the
these colors to be the primary element. effect, it adds a beautiful richness to the effect
without competing.
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SECTION IV // COLOR

COLOR PALETTES FOR COMMON VOID

SPELLS IN LEAGUE
Here is a collection of the color palettes most commonly
used for spells inside the game

POISON

HEAL

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SECTION IV // COLOR

COLOR PALETTES FOR COMMON FROST

SPELLS IN LEAGUE
Here is a collection of the color palettes most commonly
used for spells inside the game

GUN POWDER

ARCANE

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SECTION IV // COLOR

COLOR PALETTES FOR COMMON SHADOW ISLE

SPELLS IN LEAGUE
Here is a collection of the color palettes most commonly
used for spells inside the game

NATURE

CELESTIAL

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SECTION IV // COLOR

COLOR PALETTES FOR COMMON WIND

SPELLS IN LEAGUE
Here is a collection of the color palettes most commonly
used for spells inside the game

HEXTECH

WATER

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SECTION IV // COLOR

COLOR PALETTES FOR COMMON

SPELLS IN LEAGUE
Here is a collection of the color palettes most commonly
used for spells inside the game

ALLY INDICATOR ENEMY INDICATOR

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 SECTION V

SHAPES
SECTION V // SHAPES

USING SHAPE LANGUAGE TO

DEFINE OUR VFX STYLE
Shape is another major element that defines a VFX art style and can
help to reduce visual noise. Common shapes include: concise detail,
hand-painted textures, mixture of soft and sharp shapes, well-defined
silhouettes and moving object textures.

ACCURATE REPRESENTATION
VFX TEXTURE SHAPE GUIDELINES A combination of hand-painted textures with a combination
of soft and hard defining lines work best.
— A LL T E X T U R E S N EED TO BE HAND - PAINTED WITH CON CI S E DETAI L

— T E X T U R E S N E E D TO BE A M IX TU RE OF SOFT AND SHARP S HAP ES

INACCURATE REPRESENTATION
Avoid using photographs texuture or visuals with
superfluous detial becuae it creates unnecessary noise.

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SECTION V // SHAPES

CREATING WELL-DEFINED
SHAPE SILHOUETTES
Creating well-defined shapes is the key to reduce noise in team fights
and quickly communicate gameplay and convey a spell’s theme.

INACCURATE REPRESENTATION ACCURATE REPRESENTATION

Since there are too many details and contrast in the effect, it This is a great representation of proper shape silhouettes.
is difficult to tell where the actual object is moving and what is The shapes are simple, but have a wide enough value range
the shape of effect. to create a focal point.

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SECTION V // SHAPES

CREATING MOVEMENT WITH

THE SHAPE LAYER ITSELF
Adding a blur to an effect creates the illusion of movement. It
helps enhance the directional feeling of the effect and clearly
communicates gameplay.

INACCURATE REPRESENTATION
Fast moving particles without motion blur end up creat-
ing visual noise and illusion of frame drop.

ACCURATE REPRESENTATION
The directional shapes and motion blur of this
particle provides a good example of where the visual
effect is moving towards.

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 SECTION VI

TIMING
SECTION VI // TIMING

THE IMPORTANCE OF TIMING

IN VFX
Timing is important to VFX and serves a critical role in creating meaningful
movement and visual interest for effects. The way an effect changes over its
lifetime offers essential visual information about its function.

VFX TIMING GUIDELINE

— A LL E F F EC T S S H O U L D HAVE ANTICIPATION AND D I S S I PATI ON

— O U T RO S S H O U LD BE CONSID ERED AS A SECONDARY EFFECT;

W I T H A LOWE R VAL U E, SATU RATION, AND OPACITY

— FA D I N G E N E RGY CAN BE EX PRESSED BY CHANG ING VALUE,

HU E , SAT U RAT I O N, OPACITY, OR SIZE

SION Q INDICATOR
— CO LO R VA R I AT I O N , VAL U E, OR OPACITY ARE EL EM EN TS THAT
The time it takes for Sion’s Q to reach full stun range and the area of effect is
CA N B E A LT E R E D IN REL ATION TO AN EFFECT’S TIMI N G
clearly communicated with a visual timer.

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SECTION VI // TIMING

USING TIMING TO
COMMUNICATE GAMEPLAY
An effect’s timing communicates specific gameplay moments.
ANTICIPATION

MAIN EXPLOSION

GANGPLANK BARREL EXPLOSION

Gangplank’s barrel explosion is a good example of showing different stage of effects;
it communicates gameplay timing clearly

DISSIPATION

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SECTION VI // TIMING

ANIMATING ACCURATE
MOVEMENT
Accurate movement of elements is key to making believable effects.
Accurate and impactful timing clearly communicates gameplay and delivers a
competitive and satisfying experience for players.

YASUO WINDWALL
Yasuo’s Windwall is a good representation of wind movement
In League of Legends

INFERNAL DIANA CORPORATE MUNDO

In Infernal Diana’s fire embers enhance the skin’s thematic while creating Corporate Mundo’s Q is a good example of showing accurate influence
impactful moment of gravity on papers

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SECTION VI // TIMING

ARTISTIC ENHANCEMENT
WITH DYNAMIC TIMING
Dynamic timing creates impactful moment, create higher satisfaction and
add more interest in effects.

ACCURATE REPRESENTATION INACCURATE REPRESENTATION

Ekko R with dynamic timing create more impactful LInear timing of Cast effect and explosion blast creates
and powerful moment a less interesting moment

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SECTION VI // TIMING

REDUCING THE AMOUNT OF

TIME EFFECTS STAY ON SCREEN
We intentionally minimize an effect’s linger duration to reduce visual
noise for team fights.

INACCURATE REPRESENTATION ACCURATE REPRESENTATION

Snow Day Syndra’s W is intensely opaque, and has an Justicar Syndra’s W fades off quickly and has some
unnecessarily long linger time. That puts too much focus transparency even at its high moment. This allows
on the effect and it will likely dominate other effects other effects to show up clearly.
happening in the same space.

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T H A N K YO U