7. production reflection
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The document summarizes the process of creating a turn-based role-playing game. It describes: 1) Creating the background and characters with a fantasy theme. 2) Designing an enemy that looks like a comical devil. 3) Animating battle sequences like healing spells and special attacks using layers and effects in Photoshop. 4) Exporting the animation as a video and adding sound effects and music in Premiere to complete the game.
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6. production reflection
The document summarizes the process of creating a video game production. It describes key steps taken which include:
- Drawing characters like ghosts and coins using online templates for reference
- Creating a simple life bar to represent the player's lives
- Duplicating coins and ghosts for consistency
- Looking up train designs online and adding smoke to represent it as a train
- Choosing less scary ghosts to not overly frighten the audience
- Moving the train out of frame at the end to signify winning the game
- Adding background music and adjusting volume and fade out levels to enhance the experience
3. production experiments(gaming)
This animation is a pixelated side-scrolling ghost game set in a prison. The player character is a prisoner wearing a boiler suit to provide context without exposition. The dark prison setting creates a creepy and eerie atmosphere when viewed through the character's torch light. Horror elements like blood and darkness were included. The character is animated by duplicating layers to remain constant as the ghost disappears, creating mystery. Elements like the side-view setting and unique character designs may influence the final product, though it will not include scary or gory aspects since it is targeted toward children.
Production Reflection
The document provides a summary of the process taken to create a side-scrolling game. It describes creating different background scenes with blending colors, adding platforms and collectible items. Sound effects were also created to match gameplay elements like jumping and collecting items. The levels were connected by fading the backgrounds together. Finally, everything was compiled in Premiere Pro to create a playable game.
3. production experiments(2)
The document summarizes experiments done to create a ghost game in Photoshop. The author drew a ghost, tree, tombstone, and portal using a pencil tool at 1 pixel size on a 120x80 pixel canvas. They added movement by dragging the ghost and recording new frames on the timeline. For the final product, the author plans to include the video format, size, aim, dark background, start and finish buttons, and some elements from the ghost game though their game will be a fighting game not focused on a ghost.
1. Production Experiments
The document describes experiments conducted to create animated sprites and pixel art for a video game. In the first experiment, the author drew stick figure sprites and animated a walk cycle. In the second experiment, the author designed a platform game background and created a simple player sprite with different poses. Multiple sprite poses were animated into a walk cycle. Sound effects and music were added in Premiere Pro to complete a demo video. Lessons from the experiments will inform the final video game project.
6. production reflection completed
The document describes the process of creating a horror game. It outlines drawing the background with a dark color scheme using the pencil and paint bucket tools. It then details drawing a cannon, bullet, well, boxes for the player to jump on, and a zombie character. Music was also imported to add to the atmosphere. The app logo was designed by filling a black square and stretching out scary text to fit the horror genre.
Production Experiments - Video game project
The document summarizes several animation experiments Joy Buck conducted to learn animation skills. They created a color-changing "Game Over" text using layers, a moving background with a bouncing ball, and a Space Invaders-style animation with moving aliens. For sound experiments, Joy made theme songs for the Space Invaders experiment using GarageBand and BeepBox, finding GarageBand easier to use but that BeepBox's sounds fit the style better with some adjustments.
Video Game production experiments
The document describes experiments the author conducted to develop skills for a video game production. They created a character using shapes and layers, and learned how to animate it walking. They also used a website called BeepBox to create background music and sound effects. For their production, the author plans to add more details like backgrounds, levels, and win/lose screens, and use skills like shaping characters and creating catchy background music.
Recommended
6. production reflection
The document summarizes the process of creating a video game production. It describes key steps taken which include:
- Drawing characters like ghosts and coins using online templates for reference
- Creating a simple life bar to represent the player's lives
- Duplicating coins and ghosts for consistency
- Looking up train designs online and adding smoke to represent it as a train
- Choosing less scary ghosts to not overly frighten the audience
- Moving the train out of frame at the end to signify winning the game
- Adding background music and adjusting volume and fade out levels to enhance the experience
3. production experiments(gaming)
This animation is a pixelated side-scrolling ghost game set in a prison. The player character is a prisoner wearing a boiler suit to provide context without exposition. The dark prison setting creates a creepy and eerie atmosphere when viewed through the character's torch light. Horror elements like blood and darkness were included. The character is animated by duplicating layers to remain constant as the ghost disappears, creating mystery. Elements like the side-view setting and unique character designs may influence the final product, though it will not include scary or gory aspects since it is targeted toward children.
Production Reflection
The document provides a summary of the process taken to create a side-scrolling game. It describes creating different background scenes with blending colors, adding platforms and collectible items. Sound effects were also created to match gameplay elements like jumping and collecting items. The levels were connected by fading the backgrounds together. Finally, everything was compiled in Premiere Pro to create a playable game.
3. production experiments(2)
The document summarizes experiments done to create a ghost game in Photoshop. The author drew a ghost, tree, tombstone, and portal using a pencil tool at 1 pixel size on a 120x80 pixel canvas. They added movement by dragging the ghost and recording new frames on the timeline. For the final product, the author plans to include the video format, size, aim, dark background, start and finish buttons, and some elements from the ghost game though their game will be a fighting game not focused on a ghost.
1. Production Experiments
The document describes experiments conducted to create animated sprites and pixel art for a video game. In the first experiment, the author drew stick figure sprites and animated a walk cycle. In the second experiment, the author designed a platform game background and created a simple player sprite with different poses. Multiple sprite poses were animated into a walk cycle. Sound effects and music were added in Premiere Pro to complete a demo video. Lessons from the experiments will inform the final video game project.
6. production reflection completed
The document describes the process of creating a horror game. It outlines drawing the background with a dark color scheme using the pencil and paint bucket tools. It then details drawing a cannon, bullet, well, boxes for the player to jump on, and a zombie character. Music was also imported to add to the atmosphere. The app logo was designed by filling a black square and stretching out scary text to fit the horror genre.
Production Experiments - Video game project
The document summarizes several animation experiments Joy Buck conducted to learn animation skills. They created a color-changing "Game Over" text using layers, a moving background with a bouncing ball, and a Space Invaders-style animation with moving aliens. For sound experiments, Joy made theme songs for the Space Invaders experiment using GarageBand and BeepBox, finding GarageBand easier to use but that BeepBox's sounds fit the style better with some adjustments.
Video Game production experiments
The document describes experiments the author conducted to develop skills for a video game production. They created a character using shapes and layers, and learned how to animate it walking. They also used a website called BeepBox to create background music and sound effects. For their production, the author plans to add more details like backgrounds, levels, and win/lose screens, and use skills like shaping characters and creating catchy background music.
6. Interactive Production Reflection
The document summarizes the process of creating a pixel character and cave/dungeon area for a video game. Key steps included using Photoshop to design the character, adding background effects to the cave, and including paths, ladders, and enemies. Animation was created using the timeline tool to move characters and create a stop motion scene of characters interacting with enemies and chests. Layer tools were used to create death screens and continue the game. The process concluded with animating the character obtaining a sword to face remaining enemies.
Project 4 production experiments ghost game
The document describes the process of designing a ghost game. The background was filled with a light blue color using a bucket tool. Clouds were added using a pen tool at the smallest size to get precise clouds. Character designs went well as the ghost riding a unicorn was simple but effective. For the final product, the designer aims to have smoother animation, moving clouds that loop, and a setting of an underground cave where the character tries to find their way out.
7. Production Reflection
Hannah created a retro-style video game for a school project. On the first day, she experimented with game ideas and designs. She settled on a space-themed game featuring a spaceship character defending Earth from enemies. Over subsequent days, Hannah designed backgrounds, menus, instructions slides and animated character movements. She spent a long time ensuring her animations were smooth. By the end of the week, Hannah had animated the full game mechanics but lacked sound effects and soundtrack due to computer issues. She planned to complete these details after the weekend.
Games: Production Reflection
Ewan Wild created backgrounds and animations in Photoshop for a basketball game. This included designing a basketball court, hoop, and stadium audience. Character layers were duplicated and adjusted frame-by-frame to create running and action animations. Sounds were made in Beepbox and added together with the videos in Premier. The production involved designing scenes, animating characters, and compiling all elements into a final video.
6. production reflection(2)
The document describes the process of creating an advergame. The creator added a graveyard background, cobblestone path, and ghost character. Zombie enemies were then included. A coin was added that allows the ghost to jump over zombies. Finally, an endgame title screen was created to indicate level completion.
Production Experiments
1) In the first experiment, the author created an animation of characters walking and running on different layers by copying them from online images and creating a timeline with repeated movements.
2) In the second experiment, the author colored in a character image and created an animation of the character winking by coloring parts of the eye at different times to create the illusion of a wink.
3) The author reflects that they may include running animations from the first experiment in a potential running game but is unsure how to include the winking animation, finding it a cool effect nonetheless.
6. production reflection
Josh Palmer created an animated snowboarding game. He began by designing the background slope and menu screen. Characters were then animated entering one at a time. Josh animated the game starting with increasing amounts of ice until the playing field was full. He next designed skate park levels with ramps and obstacles, animating characters moving through stances on the course. Finally, Josh added sound effects and original music in Premiere Pro, trimming and duplicating audio clips to synchronize with the animations.
P4 - 3. Production Experiments
Tamzin experimented with creating a background scene for a ghost game by drawing a haunted house silhouette in black and yellow pixels, but had difficulty with the windows. Tamzin then found a better house template and colored it in blocks, adding a moon, clouds, pumpkin, and gravestone. Tamzin also traced a ghost and bush template, experimenting with leaf shading. Next, Tamzin drew a basic walking character but simplified it to side views with different walking poses to animate. Finally, Tamzin animated the character walking by duplicating and flipping frames with the character moving right. From these experiments, Tamzin learned to use templates and a solid color style, learned character posing and animation, and will apply these lessons
6. production reflection
Daniel Thompson reflects on the process of creating an animation for a game. He began by selecting fonts from dafont.com to use in the main menu. He then gathered character and weapon templates to modify for his project. Finally, he created background art for the title screen and main game using Photoshop, adding elements like planets, stars, and a unique planet. He animated the characters using the templates and layers, and added sound effects and music in Premiere before rendering the finished mp4 file.
3. production experiments
The document describes the process of creating a ghost game. First, the creator gave the game a grey background and created ledges for the ghost to jump on, some of which were faulty. A red square was made as a safe zone. Then, the ghost was drawn and its animation was set up to move between ledges. For the final product, the creator plans to include using Photoshop again with a character and background and props, as the game involves adventure and risk as the ghost must navigate between ledges to reach safety.
6. production reflection
The document summarizes the process of creating a 2D platformer game. It describes how the student created the background at different levels using various tools in Photoshop. It also details how they designed the character and coins to collect. Frame by frame animation was added to give the loading and jumping effects. Sound effects were made to provide feedback on collecting coins or dying. Finally, the video and audio were combined and exported for sharing.
6. production reflection(2) (1)
Sean-Cawood created levels for their game by drawing a 3D grid in ProCreate to help plan gameplay. They drew the map larger than 120x80 pixels to allow scrolling. Obstacles and cover were drawn and colored differently. Characters were drawn in multiple poses for animation. Lighting effects were added using color, blur, and selective non-functioning lights to set a spooky tone. The map was exported as a PSD and characters were animated in Photoshop before exporting as a large MP4 for zooming and panning in Premiere with added audio and slowed gameplay for immersion.
3. production experiments(2)
1) The document describes experiments creating a ghost game using Photoshop, including filling the background with dark and light grey colors to create a tunnel, animating the ghost character moving through the tunnel using stop motion techniques, and exporting the game as an MP4 file.
2) Reflection on the experiments indicates the final product will use a more detailed background design and include more interactivity, using the stop motion animation technique and developing a concept to match the brief of a ghost game.
Unit 4: Initial plans
The mood board for an animated Dark Souls piece contains mostly images from the Dark Souls video game franchise. These images have a consistent dark tone with colors like black, grey, blue, and silver that match the dark atmosphere of the game. Any fonts used also have an old or medieval feel. While dark, the images contain small hints of light representing hope. Studying the mood board will influence the final animated piece, which will have a similar dark color scheme and use of light, as well as medieval-style fonts to capture the fantasy elements of Dark Souls.
6. production reflection
Andrew Downes created an animated game project over multiple days. He made assets like a skull, water features, doors, and background stones. He animated the main character's walk and created concept art for enemies. Andrew added lighting, shading, buttons, and animated elements like falling water. Music and sound effects were also created. The project was compiled and exported, with some minor issues due to resizing. Overall, Andrew completed the core aspects of the game but wished for more time to expand it further.
Production reflection - video game project
The document provides details on Joy Buck's process for creating an animated racing game production. Some key points:
- Joy created a scrolling background 1200 pixels wide to give the illusion that the cars are moving. Various elements like trees, bridges and tunnels were drawn.
- Eight small car templates were drawn in different colors and then each placed on separate layers and animated frame-by-frame to race along the track.
- Additional animations were included like cars jumping over rainbow ramps with smoke, driving into water, and lights turning on in a tunnel.
- An opening sequence was made showing the creator's initials and a leaf and lightning bolt on a cloud for the game's title of "Flash
Animation evaluation
The document provides an evaluation of the animated short "Jeremy the Monkey". It summarizes the technical and creative aspects of the animation. Technically, the walk cycle and parallax scrolling background were effective despite the jerky motion. Creatively, the character Jeremy displays human traits for humor. The animation was influenced by Jim Davis' exaggerated cartoon style and aims to appeal to teenagers through slapstick humor, surprising scenes, and colorful yet simple visuals.
Video Game Production Reflection
Will Anderson created sprites and animations for playable characters, enemies, bosses, and levels for a game. This included idle and death animations as well as a boss fight sequence. Backgrounds and levels were designed in chunks to allow for easier editing. Audio was also produced using BeepBox to include battle music and sound effects. Box art was then designed including the front cover featuring a character and screenshots on the back with promotional text.
01.) Production experiments
George created several experimental games using Photoshop to practice animation techniques. For his final product, he wants to include specific elements from each experiment. In the jungle game, he wants the jungle setting and explosion effect. In the space game, he wants the explosion getting larger over time and the idea of different levels like space. In the SAW-inspired trap game, he wants the character dodging dangers like closing walls and falling rocks. He also practiced adding sound effects and music in Premiere Pro to enhance his games.
6. production reflection
The student created a game logo by enlarging and redrawing a small key image to use as the logo. They selected a wooden floor image as the background. For the game background, the student drew plain grey walls and brown borders to represent a mansion, and duplicated pixel art furniture images to furnish the rooms. The student hid a designed key image in one of the rooms. To animate the game, the student moved the character sprite between rooms in stop motion style to find the key under the bed. Finally, the student imported a light, happy backing track from an online source, trimming it in Premier Pro for use in the game.
6. Production Reflection
The document describes Spencer Fox's process of creating animation for a video game. Some key points:
- Spencer created the background, sprites, enemies, collectible items, and HUD elements for the first level.
- Menu screens like the pause menu, abilities list, loading screen, main menu, and level select were also designed.
- Each section was animated in Photoshop then compiled into a video with Premiere Pro, adding sound effects and music composed in Beepbox.
- The full project was exported and uploaded to YouTube to share the final animated video game experience.
6. production reflection
Madeleine Ross reflects on the process of creating a game production. She began with a welcome menu to introduce players to the game. Throughout development, she referred to her pre-production color scheme to maintain consistency. Gameplay elements like houses, monsters, and layers were created using pixel art tools in Photoshop then exported and edited together with sound effects in Premier Pro. Additional levels were added, like a boss battle, to extend the gameplay time. Attention to detail and iterative improvements helped produce a cohesive pixel art game.
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6. Interactive Production Reflection
The document summarizes the process of creating a pixel character and cave/dungeon area for a video game. Key steps included using Photoshop to design the character, adding background effects to the cave, and including paths, ladders, and enemies. Animation was created using the timeline tool to move characters and create a stop motion scene of characters interacting with enemies and chests. Layer tools were used to create death screens and continue the game. The process concluded with animating the character obtaining a sword to face remaining enemies.
Project 4 production experiments ghost game
The document describes the process of designing a ghost game. The background was filled with a light blue color using a bucket tool. Clouds were added using a pen tool at the smallest size to get precise clouds. Character designs went well as the ghost riding a unicorn was simple but effective. For the final product, the designer aims to have smoother animation, moving clouds that loop, and a setting of an underground cave where the character tries to find their way out.
7. Production Reflection
Hannah created a retro-style video game for a school project. On the first day, she experimented with game ideas and designs. She settled on a space-themed game featuring a spaceship character defending Earth from enemies. Over subsequent days, Hannah designed backgrounds, menus, instructions slides and animated character movements. She spent a long time ensuring her animations were smooth. By the end of the week, Hannah had animated the full game mechanics but lacked sound effects and soundtrack due to computer issues. She planned to complete these details after the weekend.
Games: Production Reflection
Ewan Wild created backgrounds and animations in Photoshop for a basketball game. This included designing a basketball court, hoop, and stadium audience. Character layers were duplicated and adjusted frame-by-frame to create running and action animations. Sounds were made in Beepbox and added together with the videos in Premier. The production involved designing scenes, animating characters, and compiling all elements into a final video.
6. production reflection(2)
The document describes the process of creating an advergame. The creator added a graveyard background, cobblestone path, and ghost character. Zombie enemies were then included. A coin was added that allows the ghost to jump over zombies. Finally, an endgame title screen was created to indicate level completion.
Production Experiments
1) In the first experiment, the author created an animation of characters walking and running on different layers by copying them from online images and creating a timeline with repeated movements.
2) In the second experiment, the author colored in a character image and created an animation of the character winking by coloring parts of the eye at different times to create the illusion of a wink.
3) The author reflects that they may include running animations from the first experiment in a potential running game but is unsure how to include the winking animation, finding it a cool effect nonetheless.
6. production reflection
Josh Palmer created an animated snowboarding game. He began by designing the background slope and menu screen. Characters were then animated entering one at a time. Josh animated the game starting with increasing amounts of ice until the playing field was full. He next designed skate park levels with ramps and obstacles, animating characters moving through stances on the course. Finally, Josh added sound effects and original music in Premiere Pro, trimming and duplicating audio clips to synchronize with the animations.
P4 - 3. Production Experiments
Tamzin experimented with creating a background scene for a ghost game by drawing a haunted house silhouette in black and yellow pixels, but had difficulty with the windows. Tamzin then found a better house template and colored it in blocks, adding a moon, clouds, pumpkin, and gravestone. Tamzin also traced a ghost and bush template, experimenting with leaf shading. Next, Tamzin drew a basic walking character but simplified it to side views with different walking poses to animate. Finally, Tamzin animated the character walking by duplicating and flipping frames with the character moving right. From these experiments, Tamzin learned to use templates and a solid color style, learned character posing and animation, and will apply these lessons
6. production reflection
Daniel Thompson reflects on the process of creating an animation for a game. He began by selecting fonts from dafont.com to use in the main menu. He then gathered character and weapon templates to modify for his project. Finally, he created background art for the title screen and main game using Photoshop, adding elements like planets, stars, and a unique planet. He animated the characters using the templates and layers, and added sound effects and music in Premiere before rendering the finished mp4 file.
3. production experiments
The document describes the process of creating a ghost game. First, the creator gave the game a grey background and created ledges for the ghost to jump on, some of which were faulty. A red square was made as a safe zone. Then, the ghost was drawn and its animation was set up to move between ledges. For the final product, the creator plans to include using Photoshop again with a character and background and props, as the game involves adventure and risk as the ghost must navigate between ledges to reach safety.
6. production reflection
The document summarizes the process of creating a 2D platformer game. It describes how the student created the background at different levels using various tools in Photoshop. It also details how they designed the character and coins to collect. Frame by frame animation was added to give the loading and jumping effects. Sound effects were made to provide feedback on collecting coins or dying. Finally, the video and audio were combined and exported for sharing.
6. production reflection(2) (1)
Sean-Cawood created levels for their game by drawing a 3D grid in ProCreate to help plan gameplay. They drew the map larger than 120x80 pixels to allow scrolling. Obstacles and cover were drawn and colored differently. Characters were drawn in multiple poses for animation. Lighting effects were added using color, blur, and selective non-functioning lights to set a spooky tone. The map was exported as a PSD and characters were animated in Photoshop before exporting as a large MP4 for zooming and panning in Premiere with added audio and slowed gameplay for immersion.
3. production experiments(2)
1) The document describes experiments creating a ghost game using Photoshop, including filling the background with dark and light grey colors to create a tunnel, animating the ghost character moving through the tunnel using stop motion techniques, and exporting the game as an MP4 file.
2) Reflection on the experiments indicates the final product will use a more detailed background design and include more interactivity, using the stop motion animation technique and developing a concept to match the brief of a ghost game.
Unit 4: Initial plans
The mood board for an animated Dark Souls piece contains mostly images from the Dark Souls video game franchise. These images have a consistent dark tone with colors like black, grey, blue, and silver that match the dark atmosphere of the game. Any fonts used also have an old or medieval feel. While dark, the images contain small hints of light representing hope. Studying the mood board will influence the final animated piece, which will have a similar dark color scheme and use of light, as well as medieval-style fonts to capture the fantasy elements of Dark Souls.
6. production reflection
Andrew Downes created an animated game project over multiple days. He made assets like a skull, water features, doors, and background stones. He animated the main character's walk and created concept art for enemies. Andrew added lighting, shading, buttons, and animated elements like falling water. Music and sound effects were also created. The project was compiled and exported, with some minor issues due to resizing. Overall, Andrew completed the core aspects of the game but wished for more time to expand it further.
Production reflection - video game project
The document provides details on Joy Buck's process for creating an animated racing game production. Some key points:
- Joy created a scrolling background 1200 pixels wide to give the illusion that the cars are moving. Various elements like trees, bridges and tunnels were drawn.
- Eight small car templates were drawn in different colors and then each placed on separate layers and animated frame-by-frame to race along the track.
- Additional animations were included like cars jumping over rainbow ramps with smoke, driving into water, and lights turning on in a tunnel.
- An opening sequence was made showing the creator's initials and a leaf and lightning bolt on a cloud for the game's title of "Flash
Animation evaluation
The document provides an evaluation of the animated short "Jeremy the Monkey". It summarizes the technical and creative aspects of the animation. Technically, the walk cycle and parallax scrolling background were effective despite the jerky motion. Creatively, the character Jeremy displays human traits for humor. The animation was influenced by Jim Davis' exaggerated cartoon style and aims to appeal to teenagers through slapstick humor, surprising scenes, and colorful yet simple visuals.
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Video Game Production Reflection
Will Anderson created sprites and animations for playable characters, enemies, bosses, and levels for a game. This included idle and death animations as well as a boss fight sequence. Backgrounds and levels were designed in chunks to allow for easier editing. Audio was also produced using BeepBox to include battle music and sound effects. Box art was then designed including the front cover featuring a character and screenshots on the back with promotional text.
01.) Production experiments
George created several experimental games using Photoshop to practice animation techniques. For his final product, he wants to include specific elements from each experiment. In the jungle game, he wants the jungle setting and explosion effect. In the space game, he wants the explosion getting larger over time and the idea of different levels like space. In the SAW-inspired trap game, he wants the character dodging dangers like closing walls and falling rocks. He also practiced adding sound effects and music in Premiere Pro to enhance his games.
6. production reflection
The student created a game logo by enlarging and redrawing a small key image to use as the logo. They selected a wooden floor image as the background. For the game background, the student drew plain grey walls and brown borders to represent a mansion, and duplicated pixel art furniture images to furnish the rooms. The student hid a designed key image in one of the rooms. To animate the game, the student moved the character sprite between rooms in stop motion style to find the key under the bed. Finally, the student imported a light, happy backing track from an online source, trimming it in Premier Pro for use in the game.
6. Production Reflection
The document describes Spencer Fox's process of creating animation for a video game. Some key points:
- Spencer created the background, sprites, enemies, collectible items, and HUD elements for the first level.
- Menu screens like the pause menu, abilities list, loading screen, main menu, and level select were also designed.
- Each section was animated in Photoshop then compiled into a video with Premiere Pro, adding sound effects and music composed in Beepbox.
- The full project was exported and uploaded to YouTube to share the final animated video game experience.
6. production reflection
Madeleine Ross reflects on the process of creating a game production. She began with a welcome menu to introduce players to the game. Throughout development, she referred to her pre-production color scheme to maintain consistency. Gameplay elements like houses, monsters, and layers were created using pixel art tools in Photoshop then exported and edited together with sound effects in Premier Pro. Additional levels were added, like a boss battle, to extend the gameplay time. Attention to detail and iterative improvements helped produce a cohesive pixel art game.
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The document summarizes the process Alfie Pimblett took to create their 8-bit style retro video game. They began by designing pixelated characters and enemies. Then, they created the menu screen with a globe and start button. A simple loading screen followed. Next, they designed the first maze level map with controls. A level complete screen was then made. Finally, they animated level 1, added sound effects, and edited the clips together to complete the video game.
3. fmp production experiments
The document describes the process the author took to create a digital artwork, which included tracing images found online to create characters, objects, and logos, filling them in with color, and arranging them on a desk scene. Multiple characters and references from movies, games, and comics were included. The author reflected on elements of the process like combining images, using stylized fonts, and color contrast that could be applied to a final product design.
4. production experiments
Jay Birkin created experiments for an adventure game by drawing backgrounds and characters in Photoshop. For one experiment, Birkin drew a bright background to set a happy mood for the genre. Birkin also created a character walk cycle animation with four positions to make it feel realistic. For another experiment, Birkin designed a basic layout with boxes and included an animation of a character swinging a sword at a monster. Birkin exported the animations but did not have time to edit them further.
Diary For Adventure Topic
The document outlines the planning and production process for a video game project called Neon Dash. It describes creating concept art and layouts, designing game levels and characters, developing sound effects and music, and integrating elements in Premiere Pro. It also discusses additional promotional products like a magazine cover, film poster, advertisements, and merchandise to create a cohesive experience. The planning process involved research, style guides, storyboarding, and risk assessments to develop the project from initial ideas to a playable demo level and integrated experience.
Diary For Adventure Topic
The document outlines plans for an adventure film project, including creating a video game demo level, cut scenes, soundtrack, and promotional materials like a magazine cover, posters, and advertisements. Backgrounds and characters were drawn in Photoshop to visualize levels and cut scenes for an endless runner video game. Promotional materials were designed keeping a consistent neon theme across the magazine cover, film poster, bus advert, and billboard. Sound effects and music were recorded and edited to accompany the game sequences.
Diary For Adventure Topic
This document outlines the diary entries for a student's adventure project. It describes the process taken to plan and develop a video game, including: selecting a film to analyze, coming up with initial ideas and storyboards, researching existing products, planning colors, layouts, scripts, sounds, and more. Key parts of development included designing background streets and animating a character for a demo level, creating menu screens, cut scenes, and recording/editing sound effects and music to bring all elements together in the final video game sequence.
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More from louis harman
Theory thrasher
Thrasher is a skateboarding magazine founded in 1981 that consists of articles, photography, and reviews related to skateboarding and music. It was originally created due to the popularity boom in skateboarding in the late 1970s/early 1980s. The magazine documents skate culture and influences styles within the sport. It uses a raw, rebellious style with punk influences. Articles are brief and informal in tone, using many photos. The magazine does not have a consistent layout or color scheme between issues.
Theory thrasher
Thrasher is a skateboarding magazine founded in 1981 that consists of articles, photography, and reviews related to skateboarding and music. It was originally created due to the popularity boom in skateboarding in the late 1970s/early 1980s. The magazine documents skate culture and influences styles within the sport. It uses a raw, rebellious style with punk influences. Articles are brief and visual, aimed at a young male audience. The magazine does not have a consistent layout or color scheme but creates a gritty collection of pages with many images and illustrations.
Presenting
The document discusses different ways to present a project magazine to the public, including publishing it on Issuu, a self-publishing website. Issuu allows anyone to publish magazines for free and reach a wide audience. Social media is also discussed as an efficient way to showcase work to many people through platforms like Instagram and build an online portfolio. Small, independent skate and BMX shops are presented as another option to get printed copies of the magazine in front of the target audience and local examples are provided. Finally, attending a local zine festival is proposed to get feedback from other designers and industry professionals and make useful contacts.
Planning fmp [autosaved]
This document outlines Louis J Harman's plans for photographing locations, models, and activities for his FMP project. Some key points:
- He will plan shoots around weather conditions and reschedule if needed. Safety equipment will be brought for riskier activities.
- Travel costs and feeding models will be considered. Cheaper alternatives for locations will be sought.
- Busy public locations like skate parks may require explaining the photography needs to others. Smaller, low-key parks will be preferred.
- Having backup models can prevent issues if someone cancels. Alternative solo photography is also planned.
- Unsafe or restricted areas will be avoided, and groups will stay together when exploring
Fmp proposal
Louis Joseph Harman proposes creating a magazine called "The TRIP Magazine" focused on BMX culture and style. The project will emphasize graphic design elements like typography, layout, and color using inspiration from designers Neville Brody and David Carson. Harman will produce the magazine using skills in InDesign, Photoshop, and illustration developed through previous projects. The magazine will include articles, interviews, and advertisements reflecting the 90s grunge aesthetic surrounding BMX. Harman will evaluate the project through self and peer reflections on the process, final product, and how well it achieves the goals of experimenting with conventions of design.
Portfolio
This portfolio document lists various creative works including magazine, graphic project, fanzine, and photography. The author, Louis Harman, has experience in visual communication through different mediums like print and digital formats. The portfolio provides a high-level overview of the types of projects the author has completed.
Personal statement
The student is applying for a graphic design course and believes it is the best path for them. They have studied creative media production for three years and particularly enjoyed the print side, guiding their interest in graphic design. The course provided freedom and creativity in project work, from initial ideas to production and evaluation. The student has enjoyed creating posters, album covers, and other illustrations, and wants to further develop their skills and express their views through graphic design work at university level.
Ucas pplication
The document discusses applying to university through UCAS, the organization responsible for managing applications to higher education programs in the UK. Students must complete the UCAS application form, selecting up to five course choices at different universities, before the January deadline to be considered for enrollment in the upcoming academic year. Universities will review applicants and make offers of admission or rejection, with students receiving responses by late spring/early summer.
Ilp powerpoint
The Powerpoint presentation discusses the key aspects of the ILP program including its goals of helping students develop career readiness skills and providing work experience opportunities through internships or other hands-on learning experiences. It highlights how the program supports students through career advising, resume and interview preparation, and connections to local employers.
Ual ucas pro forma(1)
Buzzword is applying to study graphic design at university and has provided their academic qualifications including GCSE grades and a Level 3 Diploma in Creative Media where they achieved merits. They are considering courses in graphic design at several universities and have rated each based on facilities, location, and course content. Buzzword aims to gain independence, new skills, and industry experience through university study to prepare for a career in graphic design.
Theory week 2
The scene from Inglorious Basterds shows a group of Jewish soldiers confronting a Nazi leader. The dark lighting and colors reflect the serious tone and time period of World War 2. The "Bear Jew" towers over the Nazi, looking down on him through the camera angles to demonstrate the hatred and view the Jews had towards Nazis. Brad Pitt's character watches from a distance, demonstrating his leadership and arrogance as he lets the larger soldier handle the situation while still being in command.
Theory week 1 (1)
The document discusses the TV show "Spaced - Season 2 Episode 5 - GONE" and analyzes some of its camera techniques. It notes that the show was made in the 1990s and seems aimed at teens and young adults, covering topics like drugs and relationships. It also discusses some of the camera pans between characters during dialog scenes and flashbacks to convey changes in mood or the passage of time. Specific examples highlighted include pans when ordering drinks to show intoxication, zooms when a character goes missing or gets angry, and flashbacks popping up as a character gets worried.
Axel bmx magazine powerpoint
AXEL-BMX Magazine is a new publication focused on BMX biking. It will cover the latest news, gear reviews, and profiles of top professional riders. The magazine launches this month and hopes to become the top resource for extreme biking enthusiasts everywhere.
Development diary
In this development diary, the student documents their progress on a final magazine project over several weeks. In the early weeks, they conducted research on graphic designers and photographers for inspiration. They created a project proposal after this research. Later weeks involved additional research, planning shoots, writing articles, and beginning production through photo editing and creating advertisement pages. The student documented problems encountered and solutions, such as creating illustrations when unable to take planned photos. They continued production with additional photos, posters, and learning new Photoshop techniques.
Fmp presentation
This document discusses the target demographic and psychographic of BMX riders. It notes that the target audience is typically 16-25 years old, from lower and middle class backgrounds, and includes more males than females. Psychographically, BMX riders tend to be rebellious and anti-authoritarian, preferring a lifestyle focused on music, partying, and their tight-knit community. The largest audiences for BMX are in the US and UK, especially for street riding. When designing advertising or a magazine for this audience, the document recommends using a raw, gritty style with non-formal language, darker colors, low resolution images, and an old punk aesthetic to appeal to their preferences.
Problem solving 2
The document discusses potential problems the author may face during their photography project and proposes solutions. It addresses issues such as equipment malfunctions, storage and organization of photos, incorporating illustrations, a lack of photography experience, using models, dangerous shooting locations, weather, transportation costs, and health and safety concerns while filming BMX riders. The author proposes solutions such as extensive planning, testing equipment beforehand, bringing backup equipment and storage, practicing techniques in advance, having others aware of their surroundings while shooting, and carrying first aid supplies.
Problem solving
The document discusses potential problems the author may face during their photography project and proposes solutions. It addresses issues such as equipment malfunctions, storage and organization of photos, incorporating illustrations, working with models, weather disruptions, safety concerns when filming BMX, and facing unexpected challenges during scheduled photography sessions. The author plans to be prepared by bringing backup equipment, storing photos regularly, practicing techniques in advance, having backup models and locations, and taking alternative photos when needed to overcome issues and keep the project progressing.
Presentation1
Thrasher Magazine is a skateboarding magazine founded in 1981. It has been influential in promoting skateboarding culture and competitions. The magazine's gritty style, under longtime editor Jake Phelps, reflects the rebellious spirit of skateboarding. It covers skaters, brands, and events, helping connect the global skate community. Winning the magazine's prestigious "Skater of the Year" award or being featured on its cover is a high honor for professional skaters. Thrasher has helped establish skateboarding as its own culture and community through chronicling important spots, teams, and the lifestyle over the decades.
Fmp proposal
Louis Joseph Harman proposes creating a magazine called "The TRIP Magazine" focused on BMX culture. The project will emphasize graphic design elements like typography, layout, and color. It will also incorporate a lot of photography. Harman will take inspiration from designers Neville Brody and David Carson, experimenting with unconventional typography and page designs. To evaluate the project, Harman will write reflections throughout the process and get peer feedback on the final product. The magazine will include articles, interviews, and advertisements reflecting the 90s grunge aesthetic.
Axel bmx magazine powerpoint
AXEL-BMX Magazine is a new publication focused on BMX biking. It will cover the latest news, gear reviews, and profiles of top professional riders. The magazine launches this month and hopes to become the top resource for enthusiasts of BMX biking across the country.
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Mr. Brainwash Beautiful Girl / Mixed Media / signed / Unique
Year: 2023
Format: 96,5 x 127 cm / 37.8 x 50 inch
Material: Fine Art Paper with hand-torn edges.
Method: Mixed Media, Stencil, Spray Paint.
Edition: Unique
Other: handsigned by Mr. Brainwash front and verso.
Beautiful Girl by Mr. Brainwash is a mixed media artwork on paper done in 2023. It is unique and of course signed by Mr. Brainwash. The picture is a tribute to his own most successful work of art, the Balloon Girl. In this new creation, however, the theme of the little girl is slightly modified.
In Mr. Brainwash’s mixed media artwork titled “Beautiful Girl,” we are presented with a captivating depiction of a little girl adorned in a summer dress, with two playful pigtails framing her face. The artwork exudes a sense of innocence and whimsy, as the girl is shown in a dreamy state, lifting one end of her skirt and looking down as if she were about to dance. Through the use of mixed media, Mr. Brainwash skillfully combines different artistic elements to create a visually striking composition. The vibrant colors and bold brushstrokes bring the artwork to life, evoking a sense of joy and happiness. The attention to detail in the girl’s expression and body language adds depth and character to the piece, allowing viewers to connect with the young protagonist on a personal and emotional level. “Beautiful Girl” is a testament to Mr. Brainwash’s unique artistic style, blending elements of street art, pop art, and contemporary art to create a visually captivating and emotionally resonant artwork.
The use of mixed media in “Beautiful Girl” adds an additional layer of complexity to the artwork. By combining different artistic techniques and materials, such as stencils, spray paint, and collage, Mr. Brainwash creates a dynamic and textured composition that grabs the viewer’s attention. The juxtaposition of different textures and patterns adds depth and visual interest to the piece, while also emphasizing the artist’s eclectic and experimental approach to art-making. The inclusion of collage elements, such as newspaper clippings and torn posters, further enhances the artwork’s urban and contemporary feel. Overall, “Beautiful Girl” is a visually captivating and thought-provoking artwork that showcases Mr. Brainwash’s talent for blending different artistic elements to create a truly unique and engaging piece.
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HERE IS THE FULL SCRIPT OF VINNAITHTHAANDI VARUVAAYA BY GAUTHAM VAASUDEV MENON
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This is my presentation for the Record Store Scavenger Hunt.
A Brief Introduction About Hanying Chen_
Vancouver-based artist Hanying Chen boasts extensive skills in writing, directing, producing, and singing, reflecting her diverse talents in the performing arts. As she looks ahead, Hanying is driven to craft a fulfilling career path that harmonizes with her deep passion for artistic expression. In the coming years, she envisions cultivating a balanced life, blending her professional aspirations with her desire to foster meaningful connections in her vibrant urban community.
The Evolution and Impact of Hip Hop a cultural and artistic
RGMDEZFE by RGM DEZ streaming everywhere Spotify, Apple Music, iTunes ,Tidal and etc
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原版定制【微信:bwp0011】《(sjsu毕业证书)美国圣何塞州立大学毕业证硕士文凭证书》【微信:bwp0011】成绩单 、雅思、外壳、留信学历认证永久存档查询，采用学校原版纸张、特殊工艺完全按照原版一比一制作（包括：隐形水印，阴影底纹，钢印LOGO烫金烫银，LOGO烫金烫银复合重叠，文字图案浮雕，激光镭射，紫外荧光，温感，复印防伪）行业标杆！精益求精，诚心合作，真诚制作！多年品质 ,按需精细制作，24小时接单,全套进口原装设备，十五年致力于帮助留学生解决难题，业务范围有加拿大、英国、澳洲、韩国、美国、新加坡，新西兰等学历材料，包您满意。
【业务选择办理准则】
一、工作未确定，回国需先给父母、亲戚朋友看下文凭的情况，办理一份就读学校的毕业证【微信bwp0011】文凭即可
二、回国进私企、外企、自己做生意的情况，这些单位是不查询毕业证真伪的，而且国内没有渠道去查询国外文凭的真假，也不需要提供真实教育部认证。鉴于此，办理一份毕业证【微信bwp0011】即可
三、进国企，银行，事业单位，考公务员等等，这些单位是必需要提供真实教育部认证的，办理教育部认证所需资料众多且烦琐，所有材料您都必须提供原件，我们凭借丰富的经验，快捷的绿色通道帮您快速整合材料，让您少走弯路。
留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
【关于价格问题（保证一手价格）】
我们所定的价格是非常合理的，而且我们现在做得单子大多数都是代理和回头客户介绍的所以一般现在有新的单子 我给客户的都是第一手的代理价格，因为我想坦诚对待大家 不想跟大家在价格方面浪费时间
对于老客户或者被老客户介绍过来的朋友，我们都会适当给一些优惠。
哪里购买(ucr毕业证书)美国加州大学河滨分校毕业证研究生文凭证书原版一模一样
原版定制【微信:bwp0011】《(ucr毕业证书)美国加州大学河滨分校毕业证研究生文凭证书》【微信:bwp0011】成绩单 、雅思、外壳、留信学历认证永久存档查询，采用学校原版纸张、特殊工艺完全按照原版一比一制作（包括：隐形水印，阴影底纹，钢印LOGO烫金烫银，LOGO烫金烫银复合重叠，文字图案浮雕，激光镭射，紫外荧光，温感，复印防伪）行业标杆！精益求精，诚心合作，真诚制作！多年品质 ,按需精细制作，24小时接单,全套进口原装设备，十五年致力于帮助留学生解决难题，业务范围有加拿大、英国、澳洲、韩国、美国、新加坡，新西兰等学历材料，包您满意。
【业务选择办理准则】
一、工作未确定，回国需先给父母、亲戚朋友看下文凭的情况，办理一份就读学校的毕业证【微信bwp0011】文凭即可
二、回国进私企、外企、自己做生意的情况，这些单位是不查询毕业证真伪的，而且国内没有渠道去查询国外文凭的真假，也不需要提供真实教育部认证。鉴于此，办理一份毕业证【微信bwp0011】即可
三、进国企，银行，事业单位，考公务员等等，这些单位是必需要提供真实教育部认证的，办理教育部认证所需资料众多且烦琐，所有材料您都必须提供原件，我们凭借丰富的经验，快捷的绿色通道帮您快速整合材料，让您少走弯路。
留信网认证的作用:
1:该专业认证可证明留学生真实身份
2:同时对留学生所学专业登记给予评定
3:国家专业人才认证中心颁发入库证书
4:这个认证书并且可以归档倒地方
5:凡事获得留信网入网的信息将会逐步更新到个人身份内，将在公安局网内查询个人身份证信息后，同步读取人才网入库信息
6:个人职称评审加20分
7:个人信誉贷款加10分
8:在国家人才网主办的国家网络招聘大会中纳入资料，供国家高端企业选择人才
【关于价格问题（保证一手价格）】
我们所定的价格是非常合理的，而且我们现在做得单子大多数都是代理和回头客户介绍的所以一般现在有新的单子 我给客户的都是第一手的代理价格，因为我想坦诚对待大家 不想跟大家在价格方面浪费时间
对于老客户或者被老客户介绍过来的朋友，我们都会适当给一些优惠。
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Call Girls Ahmedabad 7426014248 Independent Call Girl Service Ahmedabad
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Femmely-ACP-how to use social media to drive engagement
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7. production reflection
- 2. Process
- 3. Process When it came to making my game I started it by making the background for the level, basing it from other turn based RPGs such as final fantasy I made a cave like room with a tree inside to give the level a fantasy theme. I then thought it was best to make my characters making one then using that as my template for the other 3 however making each have its individual look but sticking with the fantasy theme. The last big part I had to design was my enemy making him look like a devil but with a comical look, then I started to animate the level making a rectangle box where you select your move using different colors to create the effect of scrolling through, being a turn based RPG I then made one of my characters use a healing spell, to create this I added several layers using the paint toll making it larger in each layer to make it look as if it is flowing from the character, then I added numbers to show what it does. I also made one of my characters use a special move where a bar comes across the screen then some text and the screen goes red then I made the boss set on fire, to make all this work I had to make the bar come from each side of the screen slowly moving it bit by bit in each frame then the text comes in one letter at a time, and for the fire I used the paint brush turned the opacity down and did the same concept as the healing, and to end it a made a victory sign come up and bounce a little.
- 4. Process
- 5. Process • Once I had finished my animation on Photoshop I exported it as a video and opened it up in premiere to then add my sound, I got a lot of the sounds from YouTube and used an mp3converter to download them then I cut them down and matched them up with the video. For the music I have used an 8-bit version of the Nirvana song “about a girl” as it fitted with the game.
Editor's Notes
- Discuss the tools and processes used in your production. Log your thoughts and feelings about your work.
- Discuss the tools and processes used in your production. Log your thoughts and feelings about your work.
- Discuss the tools and processes used in your production. Log your thoughts and feelings about your work.
- Discuss the tools and processes used in your production. Log your thoughts and feelings about your work.