Project 4 production experiments ghost game copy
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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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3. production experiments
The document describes the process of creating a ghost game in Photoshop. The creator started by making a pink and black background. Different elements like the ghost and gravestones were placed on separate layers for editing purposes. The goal of the game is to get rid of all the gravestones by jumping on them, causing them to flash and disappear. Frames were used and timed to keep the game fast-paced, with no frame lasting more than half a second. Elements like characters jumping on objects to achieve goals will be kept for the final product.
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.
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(2)
The student created a game background using a large pencil size to color the entire canvas blue and add clouds by duplicating a single cloud shape. Characters were designed without faces to subvert expectations and make the game unique. Platforms, ladders, and towers were created on separate layers and duplicated to populate the level. Enemies were made to look cute against the pastel colors. Music was converted to mp3 and sound effects like doors closing and apples crunching were added. The end screen depicts a boat inspired by the game title and was constructed across multiple layers showing the ocean, boat outline, sails, and logos.
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.
3. production experiments(2)
The document describes experiments creating a ghostly character pixel art using Photoshop tools. Specific colors like red, black, and white were used and the image was zoomed in on to refine details. For the final product, the document indicates the pixel art will be used to create a supernatural themed game, carrying over skills gained in initial experiments.
3. production experiments
Olivia created a ghost game experiment using different colored backgrounds to add detail. She used the pencil tool to draw characters and features and the paint bucket to quickly fill in the background, allowing her to focus on important game parts. For her final product, Olivia plans to use the same tools and include theme-setting features to communicate that the game is about ghosts, as directed by the brief.
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.
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3. production experiments
The document describes the process of creating a ghost game in Photoshop. The creator started by making a pink and black background. Different elements like the ghost and gravestones were placed on separate layers for editing purposes. The goal of the game is to get rid of all the gravestones by jumping on them, causing them to flash and disappear. Frames were used and timed to keep the game fast-paced, with no frame lasting more than half a second. Elements like characters jumping on objects to achieve goals will be kept for the final product.
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.
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(2)
The student created a game background using a large pencil size to color the entire canvas blue and add clouds by duplicating a single cloud shape. Characters were designed without faces to subvert expectations and make the game unique. Platforms, ladders, and towers were created on separate layers and duplicated to populate the level. Enemies were made to look cute against the pastel colors. Music was converted to mp3 and sound effects like doors closing and apples crunching were added. The end screen depicts a boat inspired by the game title and was constructed across multiple layers showing the ocean, boat outline, sails, and logos.
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.
3. production experiments(2)
The document describes experiments creating a ghostly character pixel art using Photoshop tools. Specific colors like red, black, and white were used and the image was zoomed in on to refine details. For the final product, the document indicates the pixel art will be used to create a supernatural themed game, carrying over skills gained in initial experiments.
3. production experiments
Olivia created a ghost game experiment using different colored backgrounds to add detail. She used the pencil tool to draw characters and features and the paint bucket to quickly fill in the background, allowing her to focus on important game parts. For her final product, Olivia plans to use the same tools and include theme-setting features to communicate that the game is about ghosts, as directed by the brief.
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.
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.
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For this experiment, the creator tried recreating popular Mario characters and items to get used to the 8-bit pixel art style using a 1x1 pixel pencil tool. This helped them understand basic character composition and design. In future experiments, they planned to add more detail through shading and highlights.
In another experiment, the creator added a changing sky background by creating multiple sky layers of different blue shades to turn on and off, simulating the sky changing as the sun and moon move across. This adds realism and interest over a static background.
A third experiment involved animating a cursor selecting character options, making sure to follow the 180x20 pixel ratio. Frame times were mostly 0.1 seconds except
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The student drew a background for their ghost game including a blue moon, graves, and a haunted mansion. They drew a shocked ghost and began animating it. During animation, the ghost became blurred when spun in the center of the screen. For their final animation, the ghost shoots off the screen, but the student was unhappy with how the spin turned out. They learned to capture more frames for smooth animation and check progress to avoid errors.
6. production reflection(2) (1)
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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.
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The student created a space-themed backdrop and planet using Photoshop tools like the shape and eyedropper tools to make a perfect circle. They added depth to the planet by coloring the circle and darkening part of it with shading, making it appear three-dimensional. For their final game, the student plans to use similar shading and circle techniques but will alter the backdrop and create a new planet.
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The student drew a grid in ProCreate to plan a map for their ghost hunting game. They improved the grid to draw 3D elements and a shuttle. Turn-based combat was inspired by XCOM, with characters taking cover. Dialog options and customizable characters were also included. Animation was created by moving sprites frame-by-frame in Photoshop. Work was done in Photoshop on PC and ProCreate on iPad, with files transferred via email. Key elements like the grid, turn-based gameplay, and cross-device workflow will be included in the final product.
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Video Game Production Experiments PP
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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.
3. production experiments(3)
Jack Morton created an experiment using the pencil tool in Photoshop to draw elements like the moon, ghost, character, knife, and blood effects. He chose the pencil tool because it was instant and accurate compared to the brush tool. Jack then used a template and the lasso tool to create a green hill background. For his final product, Jack plans to include pixel design and blood effects to attract different gamers. He will also improve the layout and design to make it more pleasing to customers. Jack will use effects like different screen colors to highlight important elements and make the game more interesting than others.
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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.
(1) production experiments
For this experiment, the creator tried recreating popular Mario characters and items to get used to the 8-bit pixel art style using a 1x1 pixel pencil tool. This helped them understand basic character composition and design. In future experiments, they planned to add more detail through shading and highlights.
In another experiment, the creator added a changing sky background by creating multiple sky layers of different blue shades to turn on and off, simulating the sky changing as the sun and moon move across. This adds realism and interest over a static background.
A third experiment involved animating a cursor selecting character options, making sure to follow the 180x20 pixel ratio. Frame times were mostly 0.1 seconds except
3. production experiments (interactive)
The student drew a background for their ghost game including a blue moon, graves, and a haunted mansion. They drew a shocked ghost and began animating it. During animation, the ghost became blurred when spun in the center of the screen. For their final animation, the ghost shoots off the screen, but the student was unhappy with how the spin turned out. They learned to capture more frames for smooth animation and check progress to avoid errors.
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.
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The document discusses the components of a game engine used to create a 2D space invaders replica. It describes using the sprite editor to create textures and animations for ships, projectiles, and a background. The objects tab was used to define the player ship, enemies, and projectiles. The level creator placed the starfield background and player ship in the level. Finally, sounds were added using the sounds tab for thruster and laser effects.
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1) The document describes Jake Thompson's process of building a 3D game level in Unity using basic tools and textures from the Unity Asset Store.
2) Jake downloaded free assets like terrain textures, objects, and environmental packs to customize his level and add features like a volcano, water pool, and village.
3) He placed objects and used colliders so players couldn't walk through them, and added invisible planes under water to prevent falling through.
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.
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The document describes Leticia Pozze's process for creating several graphic design projects. It discusses how she created a cloudy sky background in Photoshop using filters and adjusting hue/saturation. It also details how she found fonts online and used tools like the Rounded Rectangle Tool to create shapes. Finally, it explains her process for designing app and game logos by drawing clouds, shapes, and a ball with tools like the pencil tool.
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Ellie-Warmingham reflects on the process of creating a pixel game animation. She started by choosing colors for the background and character. Everything was drawn on separate layers to make fixes and animation easier. The background includes mountains, bushes, and moving clouds to make it more interesting. Platforms and backgrounds have added shades of the same color for variety. An attempted menu screen was scrapped due to style and text issues. The finished animation includes a character navigating platforms with health and coin counters, within the limitations of pixel art.
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The student created a space-themed backdrop and planet using Photoshop tools like the shape and eyedropper tools to make a perfect circle. They added depth to the planet by coloring the circle and darkening part of it with shading, making it appear three-dimensional. For their final game, the student plans to use similar shading and circle techniques but will alter the backdrop and create a new planet.
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This document summarizes three experiments the author conducted to improve their skills in creating animated games. In the first experiment, the author created a simple nighttime scene with one moving character. They realized movement needed improvement and more elements were needed. The second experiment had daylight, gameplay, and multiple simultaneous movements. It was more complex but still lacked detail. The third experiment featured intricate bird animation and overlapping sun rays and clouds. The author felt this realistic background was their best and would inspire their final product.
Gaming Outline
This document provides an overview of the basics of using Game Maker to create computer games without programming. It describes the main components used in Game Maker such as sprites, objects, actions, rooms, backgrounds, and sounds. It also explains how to load, run, and play games created with Game Maker.
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FLOAT is a casual puzzle game where players must guide a prescribed number of balloon animals from point A to point B by placing influence objects around the play field before each level to indirectly control the balloon animals' movement, inspired by games like Lemmings and The Incredible Machine and designed for touch devices and a wide casual audience.
FLOAT SXSW Presentation
FLOAT is a casual puzzle game where players must guide a prescribed number of balloon animals from point A to point B by placing influence objects around the play field before each level to indirectly control the balloon animals' movement, inspired by games like Lemmings and The Incredible Machine and designed for touch devices and a wide casual audience.
6. production reflection
Chelsea Kierans created a Photoshop file to develop the background for her game, drawing clouds on separate layers for consistency. She then drew identical men that her alien character would kill, placing each on its own layer to allow for flashing and disappearing at different times. Finally, she drew her alien character and brought the game to life by adding animation through moving frames and characters, choosing background music to add through Premier before exporting the completed game.
3. production experiments(2)
The student drew a grid in ProCreate to plan a map for their ghost hunting game. They improved the grid to draw 3D elements and a shuttle. Turn-based combat was inspired by XCOM, with characters taking cover. Dialog options and customizable characters were also included. Animation was created by moving sprites frame-by-frame in Photoshop. Work was done in Photoshop on PC and ProCreate on iPad, with files transferred via email. Key elements like the grid, turn-based gameplay, and cross-device workflow will be included in the final product.
Production Experiments
The student experimented with making a short animation about gravestones and ghosts. They used layers to design gravestones, add flowers, and create a character holding flowers that was merged with the gravestone layer. A ghost was also designed to stand out against a black and white background. The finished product was a short animation. For their final game project on ghosts, the student plans to incorporate the simple character design and blue color scheme used for the ghost in the experiment.
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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.
3. production experiments (interactive)
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.
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Jack Morton created an experiment using the pencil tool in Photoshop to draw elements like the moon, ghost, character, knife, and blood effects. He chose the pencil tool because it was instant and accurate compared to the brush tool. Jack then used a template and the lasso tool to create a green hill background. For his final product, Jack plans to include pixel design and blood effects to attract different gamers. He will also improve the layout and design to make it more pleasing to customers. Jack will use effects like different screen colors to highlight important elements and make the game more interesting than others.
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The document describes Louis Cooper's process for experimenting with creating a ghost game. They started with a blank pixelated canvas and made the background black to create a dark room. A glowing white background and ghost were drawn on the same layer so they would move together, allowing the player to see where they are going. Using the timeline tool, Louis animated the ghost collecting a coin. After rendering, the animation was blurry but Louis decided it looked better that way so kept it blurry. For the final product, Louis plans to include the coin grabbing and exploring aspects of the experimental ghost game.
7. production reflection
The document describes the process taken by Josh Brownsword to create an animated character and background for a game. It discusses developing the character's stance and color scheme. It then describes creating the background by drawing a road, lamps, and buildings. Various animation and sound effects were added, including walk and run cycles for the character. Interface elements like buttons and an inventory screen were also created. Finally, an intro scene with a disco ball effect and stars was made to introduce the game. Music and sound effects were integrated by loading the project into video editing software.
1. production experiments
This document summarizes the processes and experiments the student used to create a pixel art game. It describes using different tools like the pencil and bucket tools to create layers for the sky, ground, pipes, and a flag. Reflection on the experiments notes elements that will be included like layers, colors, and tools. A process for experimenting with background music using Beep Box is also summarized.
6. production reflection
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4. production experiments
The document summarizes the process of creating pixel art animations for a game. It discusses:
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- Techniques developed like creating a smaller character then upscaling and adding detail, and using the perspective tool to create floorboards.
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6. production reflection
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.
6. production reflection
The document describes the process of creating a game in Photoshop. It outlines how the student created the character, starting screen with logo and text, character picker that slides in, platforms and coins for gameplay, obstacles using the pen tool, and an end screen for when the player dies. Key tools used included the pen, rectangle, and paint bucket tools to draw, fill shapes, and change character colors. The student looked at online examples for inspiration on creating different obstacle types.
7. production reflection
The document summarizes the process of creating music and sound effects for a video game. It describes using Beep Box to create simple music that fits well within the game. It also discusses recording basic sound effects like door locks and match lighting at home with a microphone to represent in-game sounds, despite not capturing every intended effect. The process of making music was easier than expected, while some sound effects like flames required more creativity to mimic in recordings.
7. production reflection
The document summarizes the process of creating music and sound effects for a video game. It discusses using Beep Box to create simple music that fits well within the game. Foley sounds were recorded at home using a microphone and Audacity, including a door lock for lock picking, flame sounds using matches, and picking up a wooden beam to represent picking up a fishing rod. The process of adding sound elements to enhance the game experience is described.
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The student designed ghosts using the paint brush tool and zoomed in and out to make them look tidy. They created the background using the pixel brush tool to make square buildings and windows. Finally, they animated the ghosts to move by using the arrow keys and mouse to direct them on the animated timeline.
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1. production experiments
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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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.
3. production experiments(3)
Aaron Acaster conducted experiments for his video game project by creating a side scroller game with a ghost character. He encountered issues with animating the ghost's turning animation and with precision when creating the game world using pixels. As solutions, he created a second ghost sprite facing the opposite direction and learned to work more precisely with pixels. For his final product, he plans to include techniques like using additional characters facing different directions and the drawing, selection, and color tools used in the experiment.
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Unit 4 Game Evaluation
The document provides a summary of the strengths and weaknesses of the author's research, planning, time management, technical qualities, aesthetic qualities, and audience appeal for an FMP video game project. It also includes feedback from peers. The main points are:
1) The research helped identify the desired genre but was time-consuming. Planning was beneficial for staying on schedule but also time-consuming.
2) More time would have allowed improving gameplay elements like animation and polish. Peer feedback suggested adding more gameplay content rather than just loading screens.
3) The simple and retro style made it accessible but repetitive gameplay may cause boredom. Peers generally liked sound effects and setting but felt it needed more development.
Jump Step Hop Game Evaluation
The document provides a summary and evaluation of the production process for a 3D side-scrolling game. It discusses the strengths and weaknesses of the research conducted, planning process, time management, technical and aesthetic qualities, audience appeal, and peer feedback. The planning process and understanding the target genre were strengths, while more time could have improved animation and gameplay. Peer feedback suggested adding more gameplay elements and detail to maximize the space within the game.
Project 4 Research pixel game
The document discusses research on existing pixel games and their target audiences. It analyzes several games including Pixel Piracy, Donkey Kong, Terraria, and Shovel Knight. It finds that the games commonly have pixelated, side-scrolling gameplay. They also target audiences of ages 0-14, appeal more to males, and are accessible to working class players. The document says the new game will have platform-style jumping gameplay and target emulators seeking achievement.
Project 4 production reflection ghost game copy
The document describes the process of developing a ghost game production. It began with creating the ground and floating pixelated islands. Clouds were then added to the atmosphere. More floating clouds were made for obstacles like jumping on and off of. Character design followed with a unicorn and ghost. Finally, the ghost was animated to jump over falling islands and then hop on the unicorn to fly off into the distance.
Project 4 initial plans pixel final game copy
The document provides details on the initial plans for a pixelated platform game called "Step Jump Hop". It will follow the character Hancock and his revolver as they go on an adventure through dangerous levels to retrieve stolen coins from the boss. Photoshop will be used to create the pixel art assets like coins, characters, and enemy clones. The target audience is younger teens aged 13+ due to the child-like gameplay, though older teens aged 16+ may also enjoy it. Earlier discarded ideas included an adventure sandbox game and strategy game due to the increased difficulty in creating those genres.
Production reflection ghost game copy
The document describes the process of creating a ghost game production. It began with creating the ground and floating islands with falling chunks of land. Clouds were then added to create atmosphere before more floating clouds were included as obstacles for ghosts to jump on and off of. Character design followed with a unicorn and ghost riding it into the sunset. The production ended by animating the characters, with the ghost starting on the left, jumping over falling islands, and then hopping on the unicorn to fly off into the distance.
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.
Prpject 4 initial plans pixel final game copy
The document provides details on the creator's initial plans and current idea for a game called "Step Jump Hop". It will be a platform game where the protagonist Hancock goes on an adventure to defeat enemies and retrieve stolen coins. The creator plans to use pixelated graphics and a basic color scheme. They will develop the game using Photoshop. The intended audience is younger teens aged 13+ due to the child-like nature of the game. Two other game ideas, an adventure sandbox and strategy game, were discounted due to difficulty creating an open world or understanding game rules.
Project 3production reflection persona; project
The document describes the creator's process of developing a production with multiple characters. At first, placing facial features and adding depth and texture was challenging. Later, adding precise colors like skin tones and an orange clothing hue to the first character helped the design progress. The second character took more time due to detailed camouflage patterns needed. Finally, the creator rushed to add color to the third character within the time constraints but left the eyes white to contrast with the outfit and complete the image.
Project 3 pre production personal project
The document outlines the pre-production, layout, props, locations, contingency planning, health and safety, and schedule for a personal project creating stylized digital characters and artwork in Photoshop over 8 days. It will feature famous and designed characters against a background of money, with props like glasses and designer clothing created by the artist. Potential issues addressed include going over time or losing focus, with solutions like getting assistance or listening to music. Health and safety concerns of eye strain and back pain will be avoided with regular breaks.
Project 3 production experiments personal project
The document describes the process of creating a pixel art drawing that took about two weeks to complete. The artist started with a light brown background and used different tones of yellow to draw the hair and add depth and realism. They followed this procedure of using base colors and then adding tones throughout the character. For their final product, the artist wants to include less detailed but more characters to showcase different anime-style portraits with an old, vintage color scheme.
Project 3. research personal project
The interviewee expressed interest in a few anime designs for the product. They wanted the colors and characters to be developed most. They thought the idea of an anime portfolio was good for people interested in anime. They did not provide any additional feedback on animations.
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Theory Research Project 2
This document provides definitions and examples of key terminology used in research, including different types of primary and secondary research, quantitative and qualitative research, audience research, market research, and production research. It also discusses advantages and disadvantages of different research methods, and provides an overview of Harvard referencing style.
Theory Meaning Project 2
The document discusses various concepts related to media analysis including denotation vs connotation, iconography in different genres, narrative structures, stereotypes, and clip analysis. It provides examples of denotation and connotation for objects like snakes, flags, and guns. It discusses linear vs non-linear narratives and gives examples. It also outlines common stereotypes associated with gender, social class, age, and occupations. Finally, it analyzes aspects of a clip like costumes, lighting, camerawork, and music to understand the tone, atmosphere, and narrative.
Theory Audience Project 2
The document discusses audience profiles for three films: Spiderman: Homecoming, Kong: Skull Island, and District 13.
For Spiderman: Homecoming, the primary audience is teenagers and adults aged 15-30. The film has a working class social grade and is more targeted towards males.
For Kong: Skull Island, the primary audience is ages 15-24, with adults 25-30 as secondary. It has a skilled working class social grade and appeals to those with needs-driven psychographics.
District 13's primary audience is adults 25-44, with teenagers 15-19 as secondary. It has a working class or above social grade and appeals equally to males and females.
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The document proposes an "Advergame" to advertise Coca-Cola. It would be a side-scrolling game released worldwide on PC and other platforms. The game would metaphorically show how drinking Coca-Cola brings joy and satisfaction by making the player character transparent and showing Coke being poured on her. The target audience is people aged 10+ of any gender or social class. The advergame aims to appeal to people's sense of fun and enjoyment of sharing Coke with others. It is designed not to offend any groups and uses the Coca-Cola logo to identify the brand without infringing on their copyright.
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Project 4 production experiments ghost game copy
- 2. Process The ghost game process was an easy game design I didn’t have anything that slowed down the process apart from the animation. The first tool I used was a colour bucket tool that would fill in the whole of the background blue to a light colour to contrast with the actual game. After using the bucket tool I then later used a pen tool at the smallest size and started filling the clouds to get a more précises sized clouds, after achieving this I then did the same technique but to create the floating clouds. The character designs when well because it was simple but effect in a way you could tell what I was trying to draw my first creation was a grey ghost that would ride the white and pinkly unicorn.
- 3. Reflection • What elements of your experiments will you include in your final product? In my final production I would like to achieve a more smoother animation to where everything runs smoothly I would also like to achieve more animation the games world such as moving clouds, and looping the same animation so that it looks like time Is moving on. In my game I will want to have the setting of the game in a underground cave to where the character is trying to find his way out into the world.
Editor's Notes
- Discuss the tools and processes used in your experiments