Production Interactive - Game Design

Production : Interactive

Game Design

I was asked to draw various cloud designs for the background as well as try to find some background music for the game. 

For the music, I tried searching for some royalty free music and came across a few sounds but I'm not sure at this stage whether we have time to put it into the game or not. I tried my best looking for a nice tropical island type of sound but it is not that easy to find.

Edited:
The game is using the track Steppin' Out sourced from a royalty free site at
http://www.purple-planet.com/jazz/4583971402

The clouds will be layered to have a similar parallax effect as the trees and cave background. 

These are the cloud designs I drew up in Photoshop:

A set of 4 small clouds

2 large clouds

A cluster of 4 clouds

2 Large fluffy clouds

Production Interactive - Game Design

Production : Interactive

Game Design

I've finished the background for the jungle area and its looking alright so far. 

After getting the correct dimensions for the canvas I resized previously drawn trees and adjusted composition of layout before exporting the separate layers as targa files.

It is quite long compared to my previous concept so to save time I duplicated the same set of trees and moved them around until I liked how the arrangement look. I would then go through the other tree layers to compare its whole look as a composition. I was later told though that it wasn't necessary  to draw the 3 layers of trees at differing heights because once placed into Unity the program could of easily done all the depth perception simple by placing layers closer or further apart.

The finished background:

I'm in the process of cleaning up the background layers for the cave and after I'll need to export each separate layer as a targa then have it placed into the game.

Production Interactive - Game Design

Production:Interactive

Game Design

I'm in charge of drawing up the backgrounds for my groups game. It's going to have separate layers to it so that if needed we can move one individual part of the background. 

In the photo above are concepts for the jungle and cave environment. 

For the cave we thought it would be cool and give the game more depth if there were open areas of the cave so you could see deeper into the background. In the very back of the picture I painted in a view of the ocean so it looked as if you could see out into the horizon. 

I've got here 2 versions of the jungle environment. I added in clouds and changed the position of the trees in the last picture because I thought the arrangement of the trees look more aesthetically pleasing. 

I'm still on the fence about the clouds as the look nice but I'm questioning whether it will look nice with the rest of the game pieces. This is something I'll need to discuss with my group about. 

Production Interactive - Game Design

Production:Interactive

Game Design



Haven't been updating blog in a while, but this is a level design I did a few weeks back. This is an idea I had for how the level could play out. First is the beach stage which will have obstacles such as barrels to which the player will need to jump over. This is to help introduce the jump mechanic of the game and because the beach stage is quite flat it helps introduce the run mechanic, so the level eases the player into the general control of the game. From there enemies are introduced into the level. Some enemies will need to be jumped on to knock out or dodge such as the crab on the beach and boar in the jungle. The empty squares throughout the level represent the collectable asset that will be used at the end of the games level. I think the group decided it was gunpowder for the canon at the end. After the jungle stage, to get to the cave the player will have to travel on top of lily pads which are the moving platforms in the game. In the cave will be a canon which the player will need to activate with all the collected gun powder in order to blast through the wall and proceed to the last part of the game. The last part is where the character will encounter the main boss. Dialogue will appear at this part and I'm not completely sure what will be said or how the game will end as of yet.



I drew up a few concepts of extra assets that'll appear in the game. Barrels or crates for the player to jump over and or for enemies to hide behind. Lily pads or logs as moving platforms to help the player travel over water. Shape exploration was my main focus with the concepts as I looked at existing pictures to create an idea of what would look best  in the game. 

Production Interactive - Environmental Asset

Production:Interactive

-Environmental Asset-

Finished model of the chest asset. I decided to keep the shape very simple and basic so it was easier to model. 

Its basic action is opening and then closing.

The inside is lined with a red lambert to replicate a velvet-like inside.

I'm still unsure whether it should have anything inside it or not like gold or just keep it empty.

Production Interactive - Environmental Game Asset

Production:Interactive 

 -Environmental Game Asset-

I'm currently finishing up the 2 digital polished concepts for the game asset. The palm tree on the left is almost finished I just need to draw its intended motion which will be the leaves swaying. The chest is done showing its animated motion of opening and closing.

I intend to model build the chest.  My first challenge was remembering how to work the program MAYA while trying to build the chest.

 

I created an orthographic of the chest to help me begin modelling it so I could get the shape near exact. Apparently the way I started building was going to give me problems later on so with the help from another classmate they showed me an easier route so I could later implement it myself. I still have trouble remembering where things are in Maya but I think I got the gist of what was being taught to me.

The finishing before animating it opening and closing. I added flat colours to the chest because it was simple and fit the simple aesthetic of the game design. I don't have an image of the interior of the chest but I made it hollow and then gave the inner faces a red lambert material for a velvet like interior. 

Production Interactive - Environmental Game Asset

Production:Interactive 

 -Environmental Game Asset-

I researched different styles of tropical trees so I could get a feel for variation in shape when drawing up silhouette concepts. I experimented with different leaf shapes and trunk direction. The animated part of the asset will be the leaves swaying side to side. 

Here I was looking at a small treasure chest that could appear in the game. Its animated motion would be it opening and closing. I gathered inspiration for possible styles and how it would look if it were modelled. I want to keep it quite simple so it's easier to model and fit the games simple low-poly style.

In the game we planned a part where the player travels through a cave so I did a concept of water dripping from a forming stalactite. 

From here I will select 2 concepts and develop them until polished with colour and move to modelling and animating the asset. 

The 2 concepts I want to polish will most likely be the tree and the chest as I wouldn't know how to create a water drop effect. 

This will be a stressing week but I hope to get a model done with animation and added to the groups scene. It's quite difficult when you don't have the programme at home but I will try and hopefully I remember how to use Maya :)

Creative Studio - Transdisciplinary Animation Project

15/9/2016

Animation Project

I have decided I want the project to be about Seasonal Cycles in Fashion combined with 2D animated Time-lapse animation. Confusing? Probably. 

When I say time-lapse I want to show the changing of seasons and at the same time use a similar technique displayed in Satoshi Kon's animation "Ohayo" where the character leaves an after image of themselves. I want to use something similar to distort time. 

This idea came to me when I was researching seasonal fashion. In my findings I discovered that fashion items for specific seasons are put on show weeks before the actual season. But also that specific seasons stay in stores for longer than others. This is mainly because the seasons in between the main Spring/Summer and Fall/Winter are trans-seasonal and work well when mixed with other clothing from other seasons.

The brief I'm writing up seems a bit everywhere as I'm still figuring out the scope of the project. 

Production schedule, I hope to spread out the work as evenly as possible so I don't end up cluttered with work all at once.

Creative Studio - Exquisite Corpse Animation

Exquisite Corpse Animation

My contribution to the Corpse animation sequence. 

It goes from a simple blue bunny that breaks off into pieces to create Michelle C's Teru Teru Bozus.

For those who did not know:

Teru Teru Bozu is a japanese doll made of white paper or cloth. It is said to bring sunshine and prevent rainfall.

Ultimately hanging it upside down is said to bring rain.

Creative Studio - Transdisciplinary Animation Project

13/9/16

Trans-disciplinary Animation Project

I'm still partially confused about the project but I think I 'm understanding it better.

Since I haven't been updating about this project at all I'm going to go through my research process and my thought process along the way.

The secondary discipline I've chosen to integrate into the animation process is fashion, more specifically Seasonal Design.

I wanted to look into the way a designer looks at shape and colour when designs focus on a season.

The fashion Seasons are Spring/Summer, Resort, Pre-fall and Fall/Winter. 

In a design process for a Fashion Designer the first thing that is done is a Fashion Forecast.
The images here was grabbed from https://fuel4fashion.wordpress.com/2013/10/11/the-fashion-design-process/ to show what a part of the design process would look like.

(This is what the research stage in animation would be.)


Image from http://goo.gl/CQFZNJ

Then they begin making mood boards and conceptualising ideas. It then leads to making mock ups of the garment; which is where 2D ideas are being transformed into 3D soon to be wearable pieces. A lot of adjusting is done at this stage until the designer is satisfied they begin selecting fabrics and trims then goes into production.
A designers colour palette selected in sync with the fashion forecast.
It is then matched to the closest Pantone colours (which is a system for matching colours).


 Image from http://goo.gl/NV77Ox
When the garment has been pieced together its final details added it can be sent off to a show and or store.

Prior I was still researching to make sure I understood the discipline better.
There was lots of reading articles about a designers process and how they try to predict new trends.

I guess at this stage I'm wondering about how I would integrate Seasonal Design into the Animation Process.

References:
https://www.businessoffashion.com/articles/intelligence/secret-journey-fashion-piece-part-1-creativity-design
https://fuel4fashion.wordpress.com/2013/10/11/the-fashion-design-process/

http://www.teonline.com/knowledge-centre/textile-designing.html

http://www.colormepretty.co/categories-2/4-season-color-analysis/

http://www.colormepretty.co/my-blog/
http://www.rochelehirsch.com/coloredgesuzannestheory.htm
https://www.brainpickings.org/2012/08/17/goethe-theory-of-colours/
http://www.factmonster.com/ipka/A0767755.html
http://www.vam.ac.uk/content/articles/t/fashion-design-process/
https://www.theguardian.com/fashion/2013/jan/01/fashion-global-market-seasonal-collections


14/9/16

Trans-disciplinary Animation Project

After more thought and research I decided to integrate seasonal design with layering and possibly looping. It's related to the common factor that as the seasons cycle through the year you find that the amount of layers of clothing worn changes too. For instance in winter lots of layers are worn to keep warm and as it changes to spring them summer less and less layers are worn but then autumn follows so the layers start coming back until it loops back to winter.
I felt that this could be integrated with animation loops and layering.

I'm not sure if this is what its meant to integrate into animation but I will run this by the lecturer just to make sure I'm on track.

Another Idea was if I looked at different animation styles that evoked a seasonal feeling and 'stitched' them together into an animation.

This is hard because I'm worried I'll end up animating about my chosen discipline instead of integrating an aspect of it into the animation.

Creative Studio - Abstracting

Abstracting

To take an idea/process/feature and boil it down to its essence and or to find the similarities between things that seem very separate. 

Task:

To create a visual analogy of your chosen discipline as a creature or character design.

I haven't mentioned what my second discipline is so I'll explain it a bit here.

My chosen second discipline is Fashion; more specifically I'm looking into fashion seasons and how to integrate it into the animation process. I'll go more into detail in my next post.

Currently, for this task I have created a fabric roll creature as a visual analogy of my discipline.

It is called Fabrilette and its special ability is Illusion Weave. With it's ability it can unroll its fabric to create a stylish illusion over a person. 

It can change its colour to suit the person but it starts off as a blank white roll. 

Production Interactive - Narrative and Stylistic Development

Production:Interactive

-Narrative and Stylistic-

Concepts

Pirate character concept

The idea for the character is a stereotypical pirate. I tried to use the common signifiers for a common pirate such as the hat style, peg leg, hook hand, eye patch etc. 

Environment concept

For the environment, as a group we decided on having it move into 3 distinct zones that differed in colour scheme and obstacles. I haven't plotted any obstacles or traps in my environment concept. I was more focused on the flow from one zone into the other. I did play around with adding some pitfalls though. The general idea for my concept was that it starts with a wrecked ship on the beach that travels to a dark cavern which then leads to a ruin-like environment and at the end a body of water which holds the main antagonist.

Creative Studio - Embodied Thinking

Embodied Thinking

A combination of Kinaesthetic Thinking and Empathising.

Kinaesthetic Thinking is thinking through the body. 

Empathising is to imagine yourself in another position and thinking or feeling as they would.

I made a quick animation based off of Michelle.C's fond memory of her recording her friend dancing obliviously. 

Memory:

"I was recording my friend dancing really weirdly in her living room[...]While we were laughing a church member witnessed the scene through the door quietly. I didn't tell her that he was watching. After a few minutes, he goes "good dancing"[...] She hides in shame."

Creative Studio - Pattern

Pattern

To see animation principles in the random motions of water. 

As a small fish swims,

Waters set into motion,

The waves are restless.

Production Interactive - Environment

Production: Interactive

Environment - Horror

I don't have a story for the scene. 

In the image itself though it lacks any form of horror-esque lighting because I'm not sure how to go about doing it. There is a crudely drawn cot in the corner of the room next to a sunflower, signifying that this is most likely a nursery. The sunflower for some reason has a large blood splatter in the centre to which the blood drips down the wall. The drip trail leads down to a rattle which also has blood but next to it there also are small handprints. Handprints that are similar size to a baby's. If you look closely at the window there is also a vague silhouette of someone. 

Production Interactive - Hypertext - Steampunk

Production: Interactive

Hypertext

Task:

Create a steampunk device.

Hover boots!

Air is suctioned in then circulated through the pipes that wrap around the boots. It is then forced out through the holes on the sole. 

I haven't really planned out how it works that thoroughly but my general idea for how it activates and deactivates is determined by tilt. i.e. tilting forward slightly activates it whereas tilting back till you're sitting on the heel area deactivates it.

Also with additional compass wrist band with stylish lace.

Production Interactive - Hypertext - Letter

Production: Interactive

Hypertext

Task:

To Visually design a tome.

It's an old letter written by characters from my game idea 'Mercenary'. The letter is handwritten to have a more authentic feel to it rather than a typed up version. (Although a typed up version will be displayed since the handwriting is most likely hard to read.)

The contents of the letter itself is from an older sister to her younger sister. The older sister is leaving, ultimately running away and deserting, in order to fulfil her dream of freedom. She's apologetic to her sister and loves her dearly but clearly not enough to remain "bound by the crest and crown".

Production Interactive - Hypertext - Weapon

Production: Interactive 

Hypertext

Task:

"Visually design a weapon of your choice and create stats and some flavour text supporting the look of your item."

The weapon is part of my last semester game idea 'Mercenary'. It's a cursed weapon thats hard to come by within the world. Its one out of nine other weapons crafted with the imbued power of the nine tailed fox.

For the colour and overall look of the whip I had to think about it for a bit. The name is subject to change so the current name is only a place holder until I think of something more fitting. 

The colour of the whip, since it's supposedly made from the foxes actual tail I thought it should reflect what my idea of it would be. I had the idea of blue toned silver fur with a slight lilac shimmer. 

A serene and magical colour palette that held power in its shape and form. 

Creative Studio - Playing

Playing 

Remixing panels from the manga "Boku wa Tomodachi ga Sukunai."

The original panel story was about one girl forgetting to hand in her club application. 

I've changed it to a short scenario about a slightly hopeless Senpai(senior) and her uninterested Kohai(junior).

Kohai Notice Me

Creative Studio - Synesthesia

Synesthesia Animation

My attempt at recalling the taste of green tea pocky and translating it into a 3 second animation.

Production Cinematic - Update

21/6/2016

My Updates are getting progressively less and less but I am doing work. I have a few screenshots of butter being animated for the last shot. I was told that it looked jumpy so I'll need to go back and fix that. I will also need to rough in some arms because I realised I actually forgot about them. I put so much attention into the face I forgot the arms.

Cleaning up his face and making sure the movement of the face follows the body fluidly.

I still need to finish clean up of the title card but it won't take much clean because Mikayla did a good job creating it anyway. Zack should be working on the ending credits and hopefully everything can be done by Friday.  

Production Cinematic - Update

6/6/2016

I haven't been updating as regularly as I should be. I've been in and out with sickness for the past week but I try to make sure it doesn't hinder what I do. I've missed out on a couple group meetings so I've had to be brought up to speed on what needs to be done and what should be done.

I've made adjustments to the schedule again. Only small changes such as making Mikayla in charge of the matte painting. She'll need all the time to finish the paintings and won't need to focus on anything else until its done.

I've been animating the first shot where butter appears. It was a challenge to keep his face in place as he turned to face forward. 

According to the rest of the group the feedback has been positive and constructive. Points were made on how to make it look more effective and puns were tossed around here and there. 

Production Cinematic - Update

20/05/2016

Even though we were missing 3 members of the team I think I managed to briefly talk about what everyone was doing. Jonathan uploaded the latest audio for the clip and we all thought it was coming along nicely. Dane suggested during the shot of myself giving a blank stare that we add a subtle sound in. Such as a quiet "mmm" just to break the awkward silence in the shot. 

21/05/2016

I've taken over title cards from Mikayla so she can put all her focus on the matte painting with Michelle. C. For the title cards Mikayla has already done quite a lot and everyone seems to agree one this one concept. 

I have began to clean up the title card so it'll be ready to be put into the clip sequence.

Production Cinematic - Update

15/5/2016

Working more on mood lighting techniques in After Effects. I think I have a better understanding of the programme now to do what I want. I've taken a few screenshots of my filter/lighting tests.

 

In the photo above the pink-red colour came out quite strong. In the screenshots below you can see I was working on desaturating and blurring the shot to get a softer glow. 

At this point I began formulating a mood board to help me with visualising and inspiration. I searched up romantic lighting ideas and a lot of pictures emphasised soft light and slightly washed out colour. Other images though really emphasised the colour red as it is closely associated with 'Love' and 'Romance'. In my opinion intense red represents a more passionate affection, which isn't what butter is trying to portray. I'll be working more with soft orange and pink lights to create a subtle  cheesy romantic appeal.