Production Experiments
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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.
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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.
3. production experiments interactive
The document describes experiments creating a ghost game scene using pencil and paint bucket tools in pixel art style. Key elements that will be included in the final product are using pencil and paint bucket tools to create the scene and characters, plus one animation for enemies getting killed, and a pixelated art style to make the scene and characters easier to create while maintaining a retro game appearance.
7. production reflection
Stefan Hughes created a game by first designing the background elements like the school, terrain, and sky. He then spent a significant amount of time designing the main character avatar to have different positions and animations for movement. Additional game elements like power ups, cars, rocks, and clouds were also designed. The most time-consuming part was animating all the different elements together across multiple frames in the game. Finally, Stefan added custom music to the finished rendered video.
4. Production Experiments
The document describes experiments the student conducted using Photoshop to create simple animated games. In the first experiment, the student animated a dog jumping over obstacles and collecting rewards to complete a course. In the second experiment, the student created a match-four game with shapes. In the third experiment, the student used BeepBox to make audio snippets that could be used as sound effects or background music in a video game. In reflecting on the elements to include in the final product, the student plans to incorporate the animation techniques from the first experiment, but not the backgrounds or angles used. No elements from the second experiment will carry over, as the final product genre is different. Audio created in the third experiment will likely be used as
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
Production experiments video games
Chloe created experiments to develop ideas for her video game project. In the first experiment, she animated a duck that changed colors and blinked as it moved across the screen. In the second, she animated a stationary bunny on a skateboard by moving a black dot to make the wheels appear to spin. Her third experiment added a background and obstacle for the bunny to jump over. Chloe reflected that she likes elements like color changes for collecting items and blinking eyes. She aims to include obstacles and tricks in her final product.
7. production reflection
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.
6. production reflection
The document describes the process of creating a game landscape and environment in three stages:
1. The background landscape was created first using the pencil tool to draw rocks, dirt, hills of varying opacity to add depth and detail.
2. Interactive elements like a red house and vault were added, with the vault containing an animation of a hatch and box opening.
3. A bomb explosion scene transition was made appealing through a gradual fade to black and back through 8 layers of varying opacity black to make the change smooth.
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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.
3. production experiments interactive
The document describes experiments creating a ghost game scene using pencil and paint bucket tools in pixel art style. Key elements that will be included in the final product are using pencil and paint bucket tools to create the scene and characters, plus one animation for enemies getting killed, and a pixelated art style to make the scene and characters easier to create while maintaining a retro game appearance.
7. production reflection
Stefan Hughes created a game by first designing the background elements like the school, terrain, and sky. He then spent a significant amount of time designing the main character avatar to have different positions and animations for movement. Additional game elements like power ups, cars, rocks, and clouds were also designed. The most time-consuming part was animating all the different elements together across multiple frames in the game. Finally, Stefan added custom music to the finished rendered video.
4. Production Experiments
The document describes experiments the student conducted using Photoshop to create simple animated games. In the first experiment, the student animated a dog jumping over obstacles and collecting rewards to complete a course. In the second experiment, the student created a match-four game with shapes. In the third experiment, the student used BeepBox to make audio snippets that could be used as sound effects or background music in a video game. In reflecting on the elements to include in the final product, the student plans to incorporate the animation techniques from the first experiment, but not the backgrounds or angles used. No elements from the second experiment will carry over, as the final product genre is different. Audio created in the third experiment will likely be used as
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
Production experiments video games
Chloe created experiments to develop ideas for her video game project. In the first experiment, she animated a duck that changed colors and blinked as it moved across the screen. In the second, she animated a stationary bunny on a skateboard by moving a black dot to make the wheels appear to spin. Her third experiment added a background and obstacle for the bunny to jump over. Chloe reflected that she likes elements like color changes for collecting items and blinking eyes. She aims to include obstacles and tricks in her final product.
7. production reflection
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.
6. production reflection
The document describes the process of creating a game landscape and environment in three stages:
1. The background landscape was created first using the pencil tool to draw rocks, dirt, hills of varying opacity to add depth and detail.
2. Interactive elements like a red house and vault were added, with the vault containing an animation of a hatch and box opening.
3. A bomb explosion scene transition was made appealing through a gradual fade to black and back through 8 layers of varying opacity black to make the change smooth.
1. initial plans 4
Luke Young created a mind map and mood board for an initial horror game project. The mood board contains primarily dark images like ghosts and graveyards to set the horror tone. There is some repetition between images of ghosts in the graveyard. The mood board will influence the final product by shaping it as a dark, first-person horror game that takes place outside in scary locations like forests and graveyards rather than just inside a house.
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.
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.
Improvisation Framework
The document discusses game design and performance. It covers several topics over multiple days including pleasure in games, games as performance art, and the play of identity. It discusses extending player expression and whether players see themselves as performers. It also covers the relationship between play, performance, and gameplay. Finally, it outlines some elements of improvisation including roles, tension, responsiveness, journey, restrictions, and poetics.
Workshop wrap-up
The document discusses game design workshop themes around play and performance in games. It covers how gameplay can be a performance and theater, with players taking on identities in a "as if" manner. References are made to scholars who viewed gameplay as a performance and play at the heart of performance. The workshop also aimed to explore design schemas, play together in teams, and develop game projects while learning from mistakes as Plato viewed life as play.
7. production reflection
April created a video game project focused on Minecraft. She researched game mechanics and analyzed aspects of Minecraft like the game world, characters, and interface. For her project, she created some pixel art experiments and planned ideas like a Candy Crush-style Minecraft game and a Minecraft dungeon. She practiced pixel art and designed a dungeon where the player fights a zombie boss. She finished her pixel art game, which has a title screen, characters, and sound effects she created. While pixel art was difficult for her, she was glad to complete the project and hopes to improve her skills.
3.production experiments
The document describes experiments for an impossible game where the aim is to collect a sapphire. Each asset was made in individual frames so mistakes could be easily fixed. Most work was done pixel by pixel to avoid errors. For the final product, the author will include frame-by-frame movement made pixel by pixel to ensure smoothness, and individual frames for each asset. The brief's mention of a "Ghost Game" inspired the use of a ghost in the experiments.
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.
Gamedesign examples
The document discusses the work of Sergei Zuev as a game designer and writer. It provides examples of locations, games, and projects he has worked on, including for Mogobe, an online world for kids, and Dear Helen, an indie platformer game. While he does not do the graphic design or programming himself, Zuev conceives the concepts, writes detailed designs and works with artists and programmers to realize his designs for the final products.
Evaluation
The document summarizes Harry Morton's evaluation of a game project. It discusses the strengths and weaknesses of his research, planning, time management, technical qualities, aural qualities, aesthetic qualities, and audience appeal for the project. The research helped determine the game style and setting, but did not explore different genres. Planning established the game design but could have included storyboards. Time management was effective but the project was limited by a one-week lack of Photoshop access.
4. production experiments 1
Toni Gibson created two experimental games to practice skills for an upcoming game. The first focused on background design to understand what looks good. The second experimented with character movement and timelines in Photoshop to create a walking sequence. Neither experiment was fully successful due to time constraints, but Toni learned about background styles and walking animations to apply to the final game.
Production Reflection
The document describes the process of creating characters, companions, and scenes for a video game. It discusses how the creator based characters on Final Fantasy sprites but made them more realistic. It also describes creating a cat and dog companion, using online images but modifying them. The last scene created shows shadows in a forest with a cut-out tree, providing an entrance and exit to the forest. The creator made a video game case inspired by classic Nintendo games and enjoyed using various Photoshop tools to enhance skills.
6. production reflection (8)
The student used the pencil and fill tools in Adobe Animate to create their production. They drew the initial outline with the pencil tool and then used the fill tool to color it in. For the background, they used the pencil tool to draw bricks one by one to add texture before filling them in. They created characters and animated the production using the timeline tool to make objects appear and disappear, simulating movement.
3. interactive production experiments 1(1)
This document contains three experiments by Oliver Frost related to developing a ghost catching game:
1. A concept for a ghost catching game where the player uses a ray gun to collect ghosts in an abandoned house. Basic shapes and colors were used to create the environment.
2. Character design experiments for an otter character in different poses. The simpler design on the far right is preferred.
3. A concept stage level design with and without background. Basic shapes were used to create a rock border and water pool. Reference photos were used but original backgrounds will be created for the final product.
Video Game Project - 1. production experiments
The student created experiments to help plan their final product for a pixel art video game. They started by creating a dark nighttime city theme background. Then they added simple buildings and a cat character to collect coins. For their final product, the student plans to keep the night city theme and possibly include the cat character. They also want to make a coin collecting game, which was tested in the experiments, as it will be simple to complete in the time given.
production reflection
Ellie Jones explains her process for creating an animation in Photoshop and Premiere Pro. She drew the characters and props in Photoshop using basic tools like pencil and eraser. She would select colors from the reference image and draw outlines before filling in and blending colors. This took time as she made mistakes with layers. In Premiere Pro, she added text effects like a typewriter style and moving mouse cursor to make the animation seem more like a video game. The editing process was difficult but involved keyframing text and cursor movements frame by frame.
3. production experiments
Jack Bevens documented his process of creating a ghost game experiment in Photoshop. He began with a new page using pixels, then drew one ghost and copied it to create multiple green squares. Dark brown walls were added to form a maze on the dark background. Jack created a ghost player and saved the file as a JPEG. In his reflection, Jack indicated he would keep the zombies, shadow, and player character for the final product due to liking their appearance. He also wanted to learn more about making games in Photoshop and experimenting further with colors.
6. production (gaming)
The document describes the process of creating an animated character selection screen and subsequent gameplay scenes for a birds-eye-view game. The creator used the pencil tool to design character faces and options, animate character movement, and create backgrounds of increasing scale and danger that scroll to simulate character movement. Inspiration was drawn from games like Pokemon and Zelda to design pixelated trees and pavement. Each scene was animated by adjusting layers on the timeline to move character parts or scroll backgrounds.
Production reflection
The document summarizes the processes used to create various assets for a game project. It describes how the character designs were drawn using simple shapes and smoothing tools in Photoshop. Issues arose with drawing the main character's nose and hair. The mascot design was based on images of Chibi Cthulhu to represent the Lovecraft-inspired horror game. The game case design layered title art over a template but issues occurred with gaps and accidental greying during editing. Bag merch was made by placing the mascot image on scaled photos of bags. In-game sprites were pixelated versions of weapons enlarged from a 50x50 pixel canvas, with one shotgun needing improvement.
6. production reflection
The document describes the process of creating an animated fighting game. The key steps were:
1) Designing the characters by using Gorillaz characters as a template.
2) Creating a simple arena using the pencil and paint bucket tools due to time constraints.
3) Adding a character health bar at the top and character portraits made from circles.
4) Placing a timer in the top center like other similar games, made with circles and text.
5) Animating the game using multiple layers on the timeline, moving elements slightly each frame.
Production Experiments
The document describes two experiments conducted by Sumiah Rose to practice pixel animation. In the first experiment, she created a ninja girl character but struggled to animate the legs walking realistically. In the second experiment, she focused on animating a stick figure walking by copying a step-by-step template, though the animation was still imperfect. She reflected that stripping animation down to basics helped her focus on the walking motion, and adding a simple moving background was a good first step towards more complex animations for her video game project.
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.
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1. initial plans 4
Luke Young created a mind map and mood board for an initial horror game project. The mood board contains primarily dark images like ghosts and graveyards to set the horror tone. There is some repetition between images of ghosts in the graveyard. The mood board will influence the final product by shaping it as a dark, first-person horror game that takes place outside in scary locations like forests and graveyards rather than just inside a house.
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.
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.
Improvisation Framework
The document discusses game design and performance. It covers several topics over multiple days including pleasure in games, games as performance art, and the play of identity. It discusses extending player expression and whether players see themselves as performers. It also covers the relationship between play, performance, and gameplay. Finally, it outlines some elements of improvisation including roles, tension, responsiveness, journey, restrictions, and poetics.
Workshop wrap-up
The document discusses game design workshop themes around play and performance in games. It covers how gameplay can be a performance and theater, with players taking on identities in a "as if" manner. References are made to scholars who viewed gameplay as a performance and play at the heart of performance. The workshop also aimed to explore design schemas, play together in teams, and develop game projects while learning from mistakes as Plato viewed life as play.
7. production reflection
April created a video game project focused on Minecraft. She researched game mechanics and analyzed aspects of Minecraft like the game world, characters, and interface. For her project, she created some pixel art experiments and planned ideas like a Candy Crush-style Minecraft game and a Minecraft dungeon. She practiced pixel art and designed a dungeon where the player fights a zombie boss. She finished her pixel art game, which has a title screen, characters, and sound effects she created. While pixel art was difficult for her, she was glad to complete the project and hopes to improve her skills.
3.production experiments
The document describes experiments for an impossible game where the aim is to collect a sapphire. Each asset was made in individual frames so mistakes could be easily fixed. Most work was done pixel by pixel to avoid errors. For the final product, the author will include frame-by-frame movement made pixel by pixel to ensure smoothness, and individual frames for each asset. The brief's mention of a "Ghost Game" inspired the use of a ghost in the experiments.
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.
Gamedesign examples
The document discusses the work of Sergei Zuev as a game designer and writer. It provides examples of locations, games, and projects he has worked on, including for Mogobe, an online world for kids, and Dear Helen, an indie platformer game. While he does not do the graphic design or programming himself, Zuev conceives the concepts, writes detailed designs and works with artists and programmers to realize his designs for the final products.
Evaluation
The document summarizes Harry Morton's evaluation of a game project. It discusses the strengths and weaknesses of his research, planning, time management, technical qualities, aural qualities, aesthetic qualities, and audience appeal for the project. The research helped determine the game style and setting, but did not explore different genres. Planning established the game design but could have included storyboards. Time management was effective but the project was limited by a one-week lack of Photoshop access.
4. production experiments 1
Toni Gibson created two experimental games to practice skills for an upcoming game. The first focused on background design to understand what looks good. The second experimented with character movement and timelines in Photoshop to create a walking sequence. Neither experiment was fully successful due to time constraints, but Toni learned about background styles and walking animations to apply to the final game.
Production Reflection
The document describes the process of creating characters, companions, and scenes for a video game. It discusses how the creator based characters on Final Fantasy sprites but made them more realistic. It also describes creating a cat and dog companion, using online images but modifying them. The last scene created shows shadows in a forest with a cut-out tree, providing an entrance and exit to the forest. The creator made a video game case inspired by classic Nintendo games and enjoyed using various Photoshop tools to enhance skills.
6. production reflection (8)
The student used the pencil and fill tools in Adobe Animate to create their production. They drew the initial outline with the pencil tool and then used the fill tool to color it in. For the background, they used the pencil tool to draw bricks one by one to add texture before filling them in. They created characters and animated the production using the timeline tool to make objects appear and disappear, simulating movement.
3. interactive production experiments 1(1)
This document contains three experiments by Oliver Frost related to developing a ghost catching game:
1. A concept for a ghost catching game where the player uses a ray gun to collect ghosts in an abandoned house. Basic shapes and colors were used to create the environment.
2. Character design experiments for an otter character in different poses. The simpler design on the far right is preferred.
3. A concept stage level design with and without background. Basic shapes were used to create a rock border and water pool. Reference photos were used but original backgrounds will be created for the final product.
Video Game Project - 1. production experiments
The student created experiments to help plan their final product for a pixel art video game. They started by creating a dark nighttime city theme background. Then they added simple buildings and a cat character to collect coins. For their final product, the student plans to keep the night city theme and possibly include the cat character. They also want to make a coin collecting game, which was tested in the experiments, as it will be simple to complete in the time given.
production reflection
Ellie Jones explains her process for creating an animation in Photoshop and Premiere Pro. She drew the characters and props in Photoshop using basic tools like pencil and eraser. She would select colors from the reference image and draw outlines before filling in and blending colors. This took time as she made mistakes with layers. In Premiere Pro, she added text effects like a typewriter style and moving mouse cursor to make the animation seem more like a video game. The editing process was difficult but involved keyframing text and cursor movements frame by frame.
3. production experiments
Jack Bevens documented his process of creating a ghost game experiment in Photoshop. He began with a new page using pixels, then drew one ghost and copied it to create multiple green squares. Dark brown walls were added to form a maze on the dark background. Jack created a ghost player and saved the file as a JPEG. In his reflection, Jack indicated he would keep the zombies, shadow, and player character for the final product due to liking their appearance. He also wanted to learn more about making games in Photoshop and experimenting further with colors.
6. production (gaming)
The document describes the process of creating an animated character selection screen and subsequent gameplay scenes for a birds-eye-view game. The creator used the pencil tool to design character faces and options, animate character movement, and create backgrounds of increasing scale and danger that scroll to simulate character movement. Inspiration was drawn from games like Pokemon and Zelda to design pixelated trees and pavement. Each scene was animated by adjusting layers on the timeline to move character parts or scroll backgrounds.
Production reflection
The document summarizes the processes used to create various assets for a game project. It describes how the character designs were drawn using simple shapes and smoothing tools in Photoshop. Issues arose with drawing the main character's nose and hair. The mascot design was based on images of Chibi Cthulhu to represent the Lovecraft-inspired horror game. The game case design layered title art over a template but issues occurred with gaps and accidental greying during editing. Bag merch was made by placing the mascot image on scaled photos of bags. In-game sprites were pixelated versions of weapons enlarged from a 50x50 pixel canvas, with one shotgun needing improvement.
6. production reflection
The document describes the process of creating an animated fighting game. The key steps were:
1) Designing the characters by using Gorillaz characters as a template.
2) Creating a simple arena using the pencil and paint bucket tools due to time constraints.
3) Adding a character health bar at the top and character portraits made from circles.
4) Placing a timer in the top center like other similar games, made with circles and text.
5) Animating the game using multiple layers on the timeline, moving elements slightly each frame.
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Production Experiments
The document describes two experiments conducted by Sumiah Rose to practice pixel animation. In the first experiment, she created a ninja girl character but struggled to animate the legs walking realistically. In the second experiment, she focused on animating a stick figure walking by copying a step-by-step template, though the animation was still imperfect. She reflected that stripping animation down to basics helped her focus on the walking motion, and adding a simple moving background was a good first step towards more complex animations for her video game project.
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.
Video game evaluation
The document summarizes the technical qualities of the author's video game project. Some key points:
- The background includes white dots to represent stars or snow. Characters are small to fit the screen. Walking is animated by alternating foot positions and dragging the background.
- A second level includes dragons that can fly and shoot fire or ice. Wings are animated by alternating drawings. Fire and ice effects are made to look like they are moving.
- Lives and collectible daggers are tracked at the top of the screen. Gameplay draws from Super Mario Bros with hazards, power-ups obtained by interacting with objects, and defeating enemies.
- Improvements could include more dynamic character
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The document describes three experiments Jack conducted related to creating animated games. In the first experiment, Jack animated a character moving and a score changing colors. In the second, Jack animated a bike moving along a track and a star changing colors. Issues arose from flipping the bike. In the third, Jack animated moving clouds and a shark to practice background animation. Reflections note elements Jack may include in the final product like moving backgrounds and a shark game, and that the experiments helped develop skills but need improvement for the final product.
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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
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The document summarizes the process of creating a game from start to finish over multiple sessions. It describes creating the background, character, animations, and sound effects. Key details include using pixel art to draw the background and character, adding layers for realism, struggling most with drawing the character, feeling surprised by own progress in animating, and importing some sound effects while making others in BeepBox. The process concluded by ordering all screens, adding sound, and exporting the final game.
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This document describes the process an individual took to create experiments for a mobile phone ghost game. They began by creating a vertical A4 canvas in black. They added layers to draw characters, including a grey foreground line. They spent a day and a half drawing a character by copying colors from another design. Ghosts were drawn in pastel colors as templates. The completed game involved moving ghosts of the same color into horizontal lines over 0.5 seconds of animation. Elements like drawing characters and using frame animation will be included in the final product.
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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.
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This document summarizes Tom Haase's progress on his video game production project over 4 weeks. In week 1, he created initial plans, a mind map of game ideas, and a schedule. In week 2, he experimented with pixel art animations in Photoshop. In week 3, he worked on the background and characters for his graveyard-themed side-scrolling game. He spent time drawing detailed characters and their movements. In week 4 part 1, he continued working on non-gameplay elements like the main menu, level select, pause menu, and game over screens, designing them in pixel art style consistent with his theme.
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The document describes two experiments conducted by Jack Roberts. The first experiment involved creating an animation by drawing a character and bath on separate layers to allow parts like the eyes to be animated. The second experiment involved breaking a completed puzzle into individual pieces that could be moved around as part of a puzzle game. For the final projects, Roberts plans to use multiple layers to animate different character parts and add a timer to the puzzle game to create a scoring element.
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This document summarizes Jessica Crosland's process for creating experiments for a ghost game. In her first experiment, she created a basic background and animated a ghost moving across the screen. Her second experiment had more detailed backgrounds with trees and blocks, and an improved ghost design with added shadows. She found animating pixels and timelines most difficult. For her final product, she plans to include multiple characters chasing each other and improve backgrounds from her experiments.
Evaluation
Tom Batty evaluated his research, planning, time management, technical qualities, and aesthetic qualities for his game development project. For his research, he felt his general game knowledge and ability to find examples was a strength, but finding age ratings was a weakness. For planning, brainstorming ideas and creating a schedule were strengths, but executing the plan was a challenge. Time management was good overall, but a week missed due to weather caused delays. Technical qualities like character animation and health bars worked well, but more levels and puzzles were desired. Aesthetically, the game was creative though could be more polished, and more time would have allowed for improvements.
Video Game Production Experiments PP
Kai Todd created basic animations to experiment with different techniques for their final project. In the first animation, sprites were positioned and tweens were used to smooth movement as the main character completed objectives. Feedback noted moving background elements added interest but objects need consistent movement. The second animation included a death shrinking animation and game over screen created by coloring the screen black and writing letters frame by frame. Kai plans to further develop the death animation and experiment with different game over screens for the final project.
Evaluation
Kallum Sykes evaluated his product design project. His research involved examining existing video games to get ideas for techniques to incorporate. He looked at games targeted at his intended age range. For planning, he experimented with fonts and color schemes. While one game he created differed from his original plan, it provided learning. He acknowledges not managing his time well and wishing he could have added more details. His product was an infinite runner game like existing ones but with his own character selections and interactions. Strengths included unique sound effects and music, though he could have created more sounds. He wishes to have improved the simple background. The audience appeal came from balancing simple designs with complex animations.
Production reflection
Mel created an animated video game about a penguin collecting fish to feed its baby. In the first week, Mel learned about game design elements and started planning ideas. Mel researched existing penguin games for inspiration and created pixel art experiments. Mel then animated the penguin walking, fishing, and returning home. Running short on time, Mel combined the character customization with an ending scene. Mel added sound effects and music before assembling the animation in Premiere and completing an evaluation.
1. production experiments (1)
In her first experiment, Amy created a basic walking animation in Photoshop by copying a figure and drawing it on separate layers in different positions to simulate movement. She reflected that she would improve it by keeping elements like clothing consistent between frames. For her second experiment, she animated hair blowing in the wind by drawing variations of a character with subtly different hair positions on separate layers. She concluded that adding more frames with smaller movements would make it look more realistic.
Production Reflection
The document summarizes the process of creating a game. It describes how the student began by drawing tiles and a character before starting the background. They realized the tiles blended in too much so changed the color. Sounds and animations were added, including rolling eyes during loading and arrows to indicate selections. Feedback improved the character design by adding a crown gem. The title, options, and monkey observer were also tweaked for clarity. Sound effects and music were the final additions.
Fmp Diary.docx
The document summarizes the research and pre-production process for a pixel art game trailer targeted at a younger audience. It discusses researching other games' target audiences, mechanics, and presentations. Backgrounds, characters, and animations were created in pixel art style. Challenges included creating varied yet similar assets and managing time. The trailer shows the main character landing on a planet and meeting another character to hint at the story while keeping it simple for its young target audience.
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More from Imogen Minto
Research
The document provides an analysis of existing magazine front covers and images to inform the development of the author's own magazine production work. Key points:
- The author likes rotoscoping and neon effects seen in some images, and wants to incorporate these styles into their own work to make it unique.
- Various magazine covers are examined for layout, color themes, target audiences and main focuses. Features like busy backgrounds with focal images/text are noted.
- Images with neon and rotoscoping effects are favored for having bold, eye-catching styles that contrast with plain backgrounds.
- Collecting references will help the author create a magazine with interesting graphic designs, effects and contrasts to attract audiences and stand
Diary Week
- The strengths of the research so far have been gaining solid ideas for the graphic design project through learning about the topic. However, more work could be done, like conducting surveys or including more secondary research.
- An unexpected finding was that most graphic design work is now focused online and through social media, rather than print, which was unexpected but makes sense given technology trends.
- This research will specifically impact the project by helping understand what people like and don't like about different graphic designs through their feedback, to test out designs in experiments before finalizing the project.
Research
The document summarizes the layout, target audience, color themes, and main focuses of several magazine front covers. Key details include:
- The layouts use varied background colors and shapes to make the covers visually interesting without being too busy. Target audiences range from teenagers to young adults.
- Color themes include pastels, neon tones, and complementary hues that match clothing or graphic elements on the cover.
- The main focuses seem to be movies, fashion, and graphic design based on cover images and publications researched. Examples of graphic design techniques like rotoscoping are highlighted.
Diary Week
The student reflected on their progress in designing a graphic design product targeted at 15-25 year olds. They researched graphic design and photographers to inform their project ideas. Through experimenting with Photoshop tutorials, the student identified computer issues as a potential problem and the importance of regular saving. Later weeks involved collecting graphic design images for inspiration, considering survey feedback, and continuing experiments with different styles to make the final product interesting and engaging.
2nd Year Prep
This document provides a summary of the student's progress and achievements over the first 7 units of their course. It reflects on what they have learned and how their skills have developed. The student plans to create a magazine for their final major project (FMP) based on their interest in print design and magazines from their childhood. They recognize skills in Photoshop and learning from others will help. To further improve, the student aims to be more creative in their ideas and add more detail to future projects to make a strong FMP.
Pre Production
This document provides details about the pre-production style sheet for a graphic design project. It includes explanations for why various images, colors, fonts, and patterns were chosen. The images showcase bold, colorful styles that depart from the creator's usual pastel aesthetic. Locations for shooting include York College studios, the creator's home, and their brother's home. The overall theme will be portraiture edited in a postmodern style. For layout, single images will be used on pages rather than multiple images crammed together to better showcase details. Proposed inside pages include split faces, rotoscoping, and neon effects.
Diary week
- The student has been experimenting with different graphic design techniques like neon effects and 3D elements to influence their magazine production. They completed tutorials on neon glasses, adding shapes to images, and 3D flowers.
- The experiments helped the student learn what effects they enjoy making and will include in their project. It also helped them identify any problems to address before production.
- While the experiments are influencing their work, the student wants to further study magazine cover designs to create an attractive, unique cover that draws in their target audience for their graphic design magazine.
2nd year prep
This document provides a summary of the student's progress and achievements over the first 7 units of their course. It reflects on what they have learned and how their skills have developed. The student plans to create a magazine for their final major project (FMP) based on their new interests and skills in areas like Photoshop. They believe experiences in their second year projects will help them design a better FMP by expanding their ideas and including more details and research.
Problem Solving
The document describes experiments done in Photoshop to create special effects on an image. Specifically, it details steps taken to darken the background of a photo while making a pair of glasses glow with neon color. The key steps included:
1. Adjusting brightness/contrast, hue/saturation, and levels to darken the background and make it blue-toned.
2. Masking the glasses to isolate them on their own layer.
3. Inverting the glasses layer and adjusting hue/saturation and lightness to make the glasses glow blue.
4. Adding gaussian blur to the glasses layer to enhance the glow, and changing the layer blend mode to screen.
5. Paint
Research
The document summarizes the layout, target audience, color themes, and main focuses of 4 different magazine covers.
For the first cover, it notes the use of shapes and colors in the background, and that the target audience is 12+.
The second cover has bright, eye-catching colors and likely targets teenagers and young adults. Pastel colors give it an aesthetic look.
The third cover has a simple pink background and targets ages 17-27. Light pastels complement the graphic design element on the model's face.
The fourth cover discusses neon effects and rotoscoping styles that could be used, noting the unique and eye-catching nature of the designs. Busy backgrounds make the
Research
The document discusses potential designs and layouts for magazine covers. It analyzes three existing magazine covers, noting elements like colors, images, and target audiences. Key aspects mentioned include neon effects, bright colors, shapes in the background, and simple versus busy layouts. The focus is on finding inspiration for creating an interesting graphic design magazine cover that will attract readers through unique, eye-catching visuals.
Research
The document provides readership statistics for the magazine "Frame". It found that 400k people access the magazine digitally compared to 120k in print, showing more focus on an online presence. The target demographics are 33% interior designers, with more male (54%) than female (46%) readers and an average age of 37. Annual household income of readers is €75k. Social media is an important platform, with 310k following on sites like Instagram, 140k monthly page views, and 60k monthly unique visitors, compared to only 20k newspaper subscribers. The CEO readership is mostly based in the US at 10%. This information helps the student focus their own magazine for a graphic design audience aged 15-25, with more
Fmp Proposal
The document is a proposal for a graphic design magazine project by Imogen Minto. It outlines that her main area of focus will be graphic design and photography as she will take her own images. Her rationale is that she has learned skills in magazine design over two years but wants to move beyond fashion magazines. Her concept is a magazine featuring different graphic designs, artworks, and photoshop tutorials. She will conduct research online and through surveys. Her evaluation plan is to take screenshots during the process to aid reflection on what went well and areas for improvement.
Fmp Theory
This document summarizes information about three artists - Milton Glaser, Stefan Sagmeister, and Annie Leibovitz. It provides details about their careers, educational backgrounds, notable works and publications. Milton Glaser is an American graphic designer known for designs like the I 'heart' NY logo. Stefan Sagmeister is a graphic designer and founder of Sagmeister & Walsh known for album covers. Annie Leibovitz is an American portrait photographer best known for her celebrity photos used in magazines like Rolling Stone.
Grade Response
This document outlines a student's grades for their first year of study in FMP (First Major Project). They received Merit grades for Research, Planning, and Production but a Merit/Distinction for Evaluation. For their Client project, they received Pass grades. The student needs to develop their Research and Planning skills for FMP and plans to do so by conducting more primary research.
2nd year prep
This document provides an opportunity to reflect on the learner's progress through the first 7 units of their qualification course. It asks the learner to think about what they have learned, how their knowledge and skills have developed, and how this has influenced their choice of final project. The learner indicates that they would like to create a magazine for their final project, as they enjoy print design and creating whatever they want. They note that making a magazine would remind them of a time when people read print publications rather than using their phones constantly.
Evaluation
The document summarizes the student's process of creating a fanzine about Frank Ocean through research, planning, time management, and reflection on technical and aesthetic qualities. The student researched Frank Ocean's background and music career online. They planned the fanzine layout, including childhood information and music statistics. Time management was good, though a few planned rotoscopings were cut due to time constraints. The fanzine has a consistent theme with colorful, detailed rotoscoped images of Ocean in circles alongside text.
Print Pro Forma
The document provides details on research conducted on fanzines, including an analysis of existing fanzine products and initial ideas for creating a fanzine about musician Frank Ocean that would utilize rotoscoping techniques to feature cartoon-style images of him. References and ideas for developing page layouts, fonts, and color schemes are also included to plan the fanzine.
Production Reflection
The document provides a summary of the production process for a fanzine focused on Frank Ocean. Key points:
- Images of Frank Ocean were found online and edited in Photoshop using the polygonal lasso tool to trace outlines and select colors to create rotoscoped images.
- Additional rotoscoped images were made of other artists Frank Ocean has worked with. Shadows and highlights were added to make the images more realistic.
- The rotoscoped images were arranged on the cover and throughout the fanzine pages using different layouts and color schemes to showcase the work.
- Background colors and textures were selected to complement each page and circular images were used to neatly contain the rot
Research
The document analyzes and summarizes several existing magazine covers. It finds that they commonly have a minimalist and neutral color scheme, with occasional pops of bold color. Images focus on clothing and models in clean, bright lighting. Layouts are simple with large central images and fonts that are easy to read. While basic, these designs look elegant and help the magazines stand out on shelves. The analysis considers incorporating similar minimalist styles for a new magazine, including a patterned background and subtle use of color.
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Production Experiments
- 2. Process In the first experiment I went onto the internet and got different characters making different walking movements and selected each one to put on a different layer by clicking via copy. When I got one where I wanted it, I created a timeline and created a new slide for every different movement of the characters and clicked on repeat forever so when I clicked play it kept going round and round like the character was walking/running.
- 3. Reflection • What elements of your experiments will you include in your final product? – From the first experiment I did, I would include some running of a character jumping over or when you tap on the screen he will go higher up that’s if I do a running game as I feel that it would look like an actual video game. I also liked the way it looks so I feel that I would include it to my game as most games like that are very popular so the audience might like it as there's similar games out there like the one I’m thinking off.
- 4. Process With the second experiment I did something similar to the other one but this time I went onto Google I got a picture of this character and coloured her in different colours then thought id make her do something so I thought of her winking so I got the skin colour and coloured half her eye in to make it look more realistic instead of it closing filly straight away so I did that then created a crease so it looks like its her eyelid making the crease so when it came to closing her eye completely I made the end of the eye and added a black line to make t look like its her eyelashes. As you can see at the bottom picture when it plays it looks like she’s winking at you.
- 5. Reflection • What elements of your experiments will you include in your final product? – With this experiment I liked how it was different by the character winking which I could include in mine however I feel that I’m wanting to do a running game so I’m not sure how I’d include that in the game but I feel that it looks cool with the effect of it by it winking.
Editor's Notes
- Discuss the tools and processes used in your experiments
- Discuss the tools and processes used in your experiments