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Unit 12: Specialist study in creative media production
Unit Aim: This unit will require students to research and critically examine the influence of historical and contemporary contexts on their own practice. The unit will enable the student to demonstrate a greater depth of understanding of their discipline and place within it.
What we're doing, how we're doing it and why we're doing it
What we're doing, how we're doing it and why we're doing it
Intent: Provide you with hands-on experience of a specific job role within the game design & other creative media fields. The goal is to enhance your practical skills, foster a deeper understanding of your chosen field and simulate a real-world scenario to prepare you for future roles in the industry.
Implementation: You will be assigned individual job roles. Over the next few weeks, you will work on tasks and responsibilities associated with your designated roles. Regular check-ins, collaborative discussions, and resource sharing will be facilitated to encourage teamwork and a holistic understanding of the game design process.
Impact: This lesson aims to have a lasting impact by providing you with first-hand experience in a specific game design role. The immersive nature of the assignment will deepen your understanding of the complexities of your chosen role and cultivate a sense of collaboration, critical for success in the game design industry.
Soft skills: Supportive working practise, Time Management, Communication, Adaptability
Industry: These sessions directly align with industry practices by simulating realistic game design pipeline roles.
SMSC: You may encounter ethical considerations related to decision-making within their roles, contributing to moral awareness. Engaging in creative tasks and problem-solving may evoke a sense of spiritual fulfilment as participants contribute to the development of a virtual world. Recognising the diverse contributions of various roles mirrors the cultural diversity within the global game design community, promoting a broader understanding of cultural perspectives.
The following weeks are a simulation of various working environments. You are allocated a job role based on your research last week. Industry work is dynamic and ever changing, be prepared for this! Whatever role you picked you should still be documenting and following the process below:
Process
Process
What do I do?
For each part of this task you should follow the following method:
1 – Research (written and visual with notes links/evidence)
2 – thumbnails and early ideation
3 – design development with reflection
4 – Some refining of your designs
5 – finished/collated images ready for presentation
On your google sites:
Each step should be clearly documented and reflected on.
Job Roles
Job Roles
Reflection:
Reflection:
- What happened?
- How did you feel?
- What were you thinking?
- How did things go?
- What might have helped?
- What might have hindered?
- What else could you have done?
- What have you learned?
- What can you change in the future?
- If the situation arose again what would you do?
- Anything you need to know or improve?
Extended task:
Extended task:
What do I do?
If you feel you have finished everything there is a high chance you haven't put enough effort into the task. Go back to your job role task and check you've completed every step! If you still feel you have completed everything gather and evidence feedback on your work. Respond to this feedback and use it to further develop your practical outcomes
Character Artist 3D
Character Artist 3D
Overview:
3D character artists create digital 3D models of characters for films and video games. Models are often based on illustrations drawn by a concept artist.
In games, character artists work closely with creative and technical teams to drive the visual quality of the game and maintain a consistent character style. In the competitive gaming market players now expect high-standard graphics, it is up to the character artist to deliver on the overall artistic quality of the game.
You will need to balance the vision of the concept artist and the needs of the players.
Process:
Process:
What do I do?
For each part of this task you should follow the following method:
1 – Research (written and visual with notes links/evidence)
2 – Blocking out
3 – Refining shapes
4 – Adding details
5 - Texturing and colour
5 – Finished/collated images/render ready for presentation
The Task:
2D to 3D
Take a turnaround from the ArtStation link here. Using the 3D software of your choice you'll be responsible for translating this character into 3D.
Use the turnaround sheet as your reference
Aim to recreate the character as accurately as possible
Character Designer
Character Designer
Overview:
The role of the Character Designer is to visualise and develop the look of animated characters for films and games. They work from the script or storyline to turn descriptions into images, to give form to personality and characteristics. Breathing life into abstract ideas is the primary focus of the Character Designer.
Process:
Process:
What do I do?
For each part of this task you should follow the following method:
1 – Research (written and visual with notes links/evidence)
2 – thumbnails and early ideation
3 – design development with reflection
4 – Some refining of your designs
5 – finished/collated images ready for presentation
The Task - Character Ideations
You are to consider the elements involved in character design for games, animation and other entertainment media that allow for visually and culturally diverse characters. You should evidence research and thinking related to character design in games and beyond that has been both positively and negatively received. You should consider stereotypes versus archetypes and issues related to contemporary representation, based on cultural identity, health and purely aesthetic considerations. You should also look at why particular styles of characters are used within particular games/animation/film, and the various types of character design/styles already in the world
Your characters should be designed to inhabit one of the following game worlds or levels:
i – The Office
ii – The Hospital
iii – The Freedom Fighters
iv – The Construction Site
v – “The Street”
vi – The Market
vii – The Flight Deck
viii – The Club
Part 1 - Anatomy & Design
You are to consider the elements involved in character design for games, animation and other entertainment media that allow for visually and culturally diverse characters. You should evidence research and thinking related to character design in games and beyond that has been both positively and negatively received. You should consider stereotypes versus archetypes and issues related to contemporary representation, based on cultural identity, health and purely aesthetic considerations. You should also look at why particular styles of characters are used within particular games/animation/film, and the various types of character design/styles already in the world
Part 2 – Showcase
Use industry conventions such as character sheets and rotations, and even comparison sheets to show how diverse your designs are whilst standing beside each other…
Animator
Animator
Overview:
The 11 Second Club is a monthly character animation competition. Animators from all over the world participate, animating a character speaking a line of dialogue provided by the club. Throughout the competition, participants can share their progress with each other and critique each other's work. At the end of the month, everyone votes for whose submission they consider the best for that month. The idea is to give animators a chance to practice their skills in a fun, challenging environment.
Process:
Process:
What do I do?
For each part of this task you should follow the following method:
1 – Research (written and visual with notes links/evidence)
2 – thumbnails and early ideation
3 – design development with reflection (use the 11 Second Club work in progress page)
4 – Some refining of your designs
5 – finished/collated images ready for presentation
The Task:
You will enter this month's competition! Animating the sound file provided. How you interpret the audio is completely up to you.
Rules:
Copyrighted rigs and/or character designs will not be allowed in entries unless the entrant has the right to use the rig and/or design. The "Azary" and "Ashrafi" rigs are specifically NOT allowed.
Don't edit the sound file (beyond adding silence before/after if needed - please try to keep the extra time to a minimum, winning eCritiques will not include added time)
Don't put your name or contact info anywhere on the actual video (this makes voting unfair).
Don't try to upload files more than 10MB (the server will automatically reject it).
Don't use anything overtly offensive (this is not the place for crude sexual humour, extremely violent imagery, or intolerance towards any culture/religion/gender/etc.) This is also not the place for political statements of any kind.
Do have fun! :)
Concept Artist
Concept Artist
Overview:
This is a simulation of working as a concept artist in a production environment. It will be fast-paced. Expectations will be high. Directions may be vague and could be changed at the last minute… But hey, all in a days work for a concept artist. This phase will be time consuming; turnovers will be quick.
Process:
Process:
What do I do?
For each part of this task you should follow the following method:
1 – Research (written and visual with notes links/evidence)
2 – thumbnails and early ideation
3 – design development with reflection
4 – Some refining of your designs
5 – finished/collated images ready for presentation
The Job:
Part 1 - The Moment
Create two keyframes (minimum) – an emotive still image that tells a cinematic story – within the world of Star Wars Episodes IV – VI. Use only existing Star Wars worlds, vehicles, creatures and characters to create a new story moment.
Think about the story you are trying to tell with the image – it should be cinematic and convey a specific emotion.
The image must fit within Episodes IV – VI aesthetic.
Again, everything used must already exist within the world of Star Wars.
At this stage, we are looking at how you use what has come before to tell a new and engaging story – we are not looking for original designs. That comes next…
Description: The Battle of Hoth is over… or is it? The captured Rebel forces break free and launch a counter-attack. Create a keyframe from this sequence. One image minimum. Sketches and storyboards are also welcomed if you choose to do so. But remember, tell the story.
Director's Notes: “There is a prison break scene in Kurosawa’s Hidden Fortress – let’s use that as a template for scale and energy. There needs to be a diversion that happens and allows the Rebel fleet to gain some distance. Maybe some wild animals running around too!”
Reference: Watch Kurosawa’s Hidden Fortress and pay particular attention to the slave uprising/prison break scene at the 11:00 minute mark of the movie.
The Job:
Part 2 - The Ride
Design two new Star Wars vehicles within the aesthetic of Episodes IV – VI. They can be Rebel, Imperial, or utilitarian — your choice; anything from a giant starship to a land speeder. Be sure to finish your images by placing the vehicles within the context of an environment. We want to see the story — not the blueprints.
We are looking for uniqueness and personality of the form — yet still part of the Star Wars vernacular.
Functionality and believability. Does it look like it will work?
Again, the image must fit within Episodes IV – VI aesthetic.
Designs must be new — you cannot reuse your scene from the moment challenge.
Think about the story you are trying to tell with the image – it should be cinematic and convey a specific emotion.
Description: A new faction has joined the Rebel Alliance – the Danji. They’ve brought their armada of vessels and military ships. Do some quick sketches of some of those vehicles highlighting their function. Big and small. Much like the Model makers finding everyday common things and making a space ship from the basic shape, we are asking you to do the same. Find an industrial form/product that you think might work. Similar to Nilo Rodis’s Slave one (street lamp) and the Hospital ship (an outboard motor on its side). Post that image in your submissions.
Director's Notes: “We can go a little more exotic with some of these forms, but they need to fit in the Star Wars universe. Keep to the ‘used world’ theme and utilitarian feel to everything.”
Reference: We talk a lot about Joe Johnston and Ralph McQuarrie and their contributions. Another designer who made an impact was Nilo Rodis Jamero. Nilo came from an industrial design background for General Motors before he worked at ILM. He was well known for looking at common objects and seeing possibilities as something else. The Slave One ship was inspired from a street light and the Hospital frigate was “What if we take an outboard motor and turn it on its side?”. This ingenious way of looking at things is one of the things we look for. And no toasters please. There is only one MrConcept Art.
Tips!
This is about how well you take direction, how you implement change and think on your feet. How you respond to a director’s request and use your art to service their ever-changing vision.
In this phase, craftsmanship and quality of work are more important than volume but you should still be documenting your development.
Quick sketch and storyboarding will also come into play. You will be asked about the intentions of your work, and how it tells a story – even in its roughest form.
In this phase, show your research and what inspires you. Did you simply troll an image search engine for ideas? Or did you use additional resources and reference classic artists and architecture? Did you go outside and look for inspiration? Use real objects as inspiration. Obviously this sort of stuff is all covid pending but you should be going the extra mile with your research.
Rigger
Rigger
Overview:
Riggers create digital skeletons for computer-generated (CG) characters. These skeletons, or rigs, are like puppets that define the movements of a character or creature, such as how a big cat runs or how a person’s face and mouth move when they sing or how someone raises an eyebrow. They are used by animators as the basis for the movements of their characters.
Process:
Process:
What do I do?
For each part of this task you should follow the following method:
1 – Research (written and visual with notes links/evidence)
2 – thumbnails and early ideation
3 – design development with reflection
4 – Some refining of your designs
5 – finished/collated images ready for presentation
The Task - Big Rig
Get yourself a T-Pose character and learn to rig it in the software of your choice. The challenge here is to give the character a skeleton that an animator can then use to move the character. They way your rig works and its complexity is up to you.
Going further...
You have two options now:
Animate your character
Rig their face!
TIPS!
Don't get dismayed as you problem solve this, this is a huge area of the animation/games/VFX industry and there's lots to learn.
Costume Designer
Costume Designer
Costume designers work in film and TV drama, unscripted TV and theatre. In parts of the UK where there is less production in screen, it’s relatively common for them to work across different sectors – in film during the summer and in theatre when the pantomime seasons starts in the winter, for example. Costume designers who know how to work across sectors are therefore more likely to get employment all the year round, wherever in the UK they are.
Process:
Process:
What do I do?
For each part of this task you should follow the following method:
1 – Research (written and visual with notes links/evidence)
2 – thumbnails and early ideation
3 – design development with reflection
4 – Some refining of your designs
5 – finished/collated images ready for presentation
The Task - A' Costume and Heritage Wear Design Award
Read through the A' Costume and Heritage Wear Design Award brief. Start producing work for the initial two tasks.
Key Visual
The Key Visual should be a high-resolution image that captures the essence of the costume design, ideally set against a plain white background to ensure the costume stands out without any distractions. This image must encapsulate the creativity, craftsmanship, and thematic elements of the costume, providing an immediate understanding of the design's concept and aesthetic appeal.
Showcase Image #1 (Do this as art for now)
Showcase Image 1 should present the costume in an alternative view or setting, highlighting its versatility and functionality. This could involve the costume being worn in a different context or by a model in a dynamic pose, illustrating how the design maintains its integrity and impact across various scenarios.
You must adhere to their image sizing and formats.
Level Artist/Designer
Level Artist/Designer
Overview:
Level designers understand what makes good gameplay. They design the game – but only a portion of it, normally referred to as a ‘level’. They take the specification defined by the gameplay designer, and get into the detail - the actions, events, objects and environment. They also design the characters and the ways they behave.
Process:
Process:
What do I do?
For each part of this task you should follow the following method:
1 – Research (written and visual with notes links/evidence)
2 – thumbnails and early ideation
3 – design development with reflection
4 – Some refining of your designs
5 – finished/collated images ready for presentation
The Task - PEACEFORMERS CHALLENGE
It is more likely for a society to be a peaceful place when everyone has the resources they need to survive and thrive, such as water, shelter, electricity, access to healthy food, freedom, and access to education. Catastrophes like violence and natural disasters can make it really hard for people to have these needs met, and people in power must make difficult decisions about how to ensure their citizens have the resources they need. What would you do in that situation?
Level Design Prompt:
Design a level in an imagined world where players need to take action about how resources are shared and divided. The main goal is to keep the peace among all groups in a fair and equitable way in your game civilization.
Research how level art and design is created and follow their workflow.
Tip! Use the site World of Level Design to support, they have a wealth of information and resources to use.
Understanding "Beauty Spots" and "Focal Points" will help you here!
Inspiration:
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