'Ere we go.

So I scored 51% last year.

Shit.

Derp

Ah well, not like it was a surprise. I mean, I did the bare minimum if I'll be honest. Not intentionally of course it's simply been my mentality towards education for years. The only part of the course I seemed to do well in were these blogs - which I'm quite proud of.

Throughout the first year I was constantly warring against 3DS Max, convincing myself I hated it and would rather just do 2D, as to that, I was sure my 2D was complete balls as well. Whether it is or isn't, is hardly the point - it's more about the mentality. A defeatist attitude will just hold you back. Whilst you're moaning and wollowing in self pity you could be jamming out some really poor sketches or models. Poor or not, it's something and that's what counts.

So long as you're actively trying to fix your negative attributes, you're on the right path. Sitting there and moaping about it will just keep you down and inactive. As Mike said, if you're getting at least twenty sketches done in an hour, or spending thirty minutes a day on something you don't understand or struggle with in 3DS Max or another program then that's good. Extra-curricular of course. This is appose to spending eight hours on something boring and then burning yourself out on the first day, not to revisit it for a week.

Little by little.

That's my reflection on last year, now that I've had a summer to think about it. The work wasn't the hard part, it was my negativity which led to a lack of motivation and consiquently affecting my results.

As to this year; well, I'm sure I speak for everyone when I say 'I'm going to work harder'. Sounds pretty clichéd – 'yeah, yeah, we've heard it all before.' This is akin to new years resolutions. Still, doesn't hurt to try and of course, if I don't, I'm screwed... so, not like I have an option.

That said, I'm quite enthusiastic about this year, group project aside, I'm eager to just go for it and I think the key to this is a system.

My feelings towards 3D last year

For 2D I will do more than the measley twelve thumbnails, instead going for several pages as well as artifact study i.e. if I'm to paint a landscape then I'll study the trees and other foliage as well as other little doodads such as fences, benches and bins etc. It's that extra mile that'll really push my grades I believe. On top of that I'm not going to do just one final; I'm going to do one traditional and one digital piece. Combine that with all the sketchbook work and I'll have done 15-20 hours a week easily I recon.

For 3D, it's simply a case of being more proactive; Get the model finished within the first couple days, within reason, get it unwrapped and textured asap (not to be confused with rushing) and once that's done, if I have time, which I should, then I'll do it again. I aim to do every project at least twice, three times would be preferable but with all the 2D work and blogs I'll have to assess that on the night.

On a side not, I want to actively seek out new tools and modifiers etc just to get the best results. Just push, push, push myself to make the best work I can.

Lastly a quick word on blogs. I did pretty well last year, as I said, and so have a pretty good idea of what is expected of me. Though this is a pretty boring post, with a severe lack of humour, my other posts (moreso personal ones) should be more entertaining, or at least that's the idea.

Review games I play, review movies I watch, write about game-related subjects I find interesting (or just for practice), whack up some of my work and maybe... maybe, a tutorial here and there. Not that I feel confident to give tutorials I merely think the activity of simply learning to do tutorials could be beneficial; making a tutorial requires you to basically review the way YOU work, something that we don't naturally do... to us it's near second-nature so when someone asks us 'How did you do that?' we often stare into space for a few seconds trying to compose our thoughts and processes.

One final note. Feedback: I'm now convinced this is the best way to improve and as such I will be getting my work critted often, all of it.

I appreciate your feedback.

What a long, strange trip it's been.

So the first year is over with just some loose ends to tie up and a few extra personal projects, then it's on to year two. I'm sure everyone says it but damn, this went fast. Seems only yesterday I was failing at drawing cars... oh wait, that was yesterday. Need more work on that.

Anyway, I'm extremely grateful for this chance to progress and to really find what I aspire to accomplish in the future. I'll be honest and admit I'm not very fond of 3D; I don't necessarily find it boring or difficult as I did at the start of the year, it's more or less a case of disinterest; I can still get on with it, and I want learn however that's really because any extra knowledge of the elements of game design on top of 2D is crucial. Therefore I will learn.

I became aware of this when I realised I never went looking for 3D art as I do 2D. I'm always going on concept art websites, or looking at the art from games like World of Warcraft, God of War and (the one I cant wait for solely because of the art) Guild Wars 2.

http://www.guildwars2.com/en/media/concept-art/

Nevertheless, I'll keep at it because it'll be of paramount importance for sealing a job. I've become slack with game production as well, not to say I wasn't trying hard at it but I could have tried far harder and practised more out of projects. I found that when there was a lecture on new tools and techniques I got lost within five minutes because I hadn't caught up on the previous weeks tutorials assuming I'd catch-up... I did, just took months. So a more proactive approach for next year as well as a shit ton more practice during the summer break.

Something I will do next year to aid this will simply be to go to the labs as oppose to staying at my flat to do work under the credo that my fridge and entertainment are there. A lunch box will sort that out and entertainment only stifles my work flow. Really is a pity that it took me a year to concur this.

As for 2D; love it. Simple as. I want to be a concept artist (yeah, one of them) and this year has really been quite significant in turning me into an artist. Not necessarily in the skill department but in the mindset. I like things I despised and tried things I didn't care for. All for the better.

Then of course there's the blog. Something I was pretty keen on from the start though found the earlier projects quite dull (history of games – I'm a heathen). The reason for me looking forward to blogging was due to the chance to improve my writing; no idea if it has however I feel the ability to write constructively while holding interest is key for just about any walk of life; like exercise, it's just something every should do to improve themselves. On top of that it's one more notch in the proverbial axe that is my resumé.

To highlight on that; more I hope to achieve in the second year is to become a better communicator. There's the game review planned as well as the standard presentation of the first semester so these are but two chances to try. I'm gonna go red and my voice is likely to sound like a pubescent geek but it's gotta be done. Maybe I'll just grow my hair long so I can shield my face from the judgemental gaze of the world. Although that might lead me to listening to Linkin Park and I'm not sure I could take that.

Something that I believe would help the students (even if they'd oppose this) is to make it mandatory to come into the labs at least 2-3 times a week for the full day. Not that the course should demand we work, this should be something we all want to do however we all get distracted when at home, and often prefer our cosy room and nearby fridge. This would simply improve productivity and assure decent grades at the end, which of course help the course to look better.

I'd dearly like to do more for the course, given the current cut to funding and the merge with... err.. humanities however I just don't feel like I'm at the skill level to really say: Hey, this is what the course can teach you. I imagine it wouldn't aspire to much. Hopefully by the end of the second year I'll be able to show off what I've learnt. For the moment however I shall remain in the shadows, learning what I can hoping that that will be enough to reflect the course's high standards and well-deserved accreditation.

Elements of Game Design - Environment

The design of a level starts with function; what is the purpose of this level? Or rather what is the player's purpose, their objective, their goal as well as their ability must be taken into account.

For example: If the player can jump high then there should be reason and room for such exercise; why give them a big jump if they can't utilize that? So, you would maybe put in ledges or gaps to leap across. This is something that is considered at the early stages of game development; the reason for a large jump would have been determined early on and so levels would be designed accordingly.

Forms follows function – Louis Sullivan

(http://en.wikipedia.org/wiki/Form_follows_function)

Form follows function is an old rule of architecture, considered a simple truth, this is arguably the basis all architecture is grounded on. However, this is related more with the world we live in as oppose to the imagined worlds of gaming.

“The principle is that the shape of a building or object should be primarily based upon its intended function or purpose. “ - wikipedia

Mad Photoshop skills.

The reason for this being more related with the real world is that gaming environments need not necessarily adhere to the laws of physics that our world does. Also things like resources, manpower and time hold little cause for concern in games. i.e. a one-hundred foot tall crystal palace is entirely conceivable given the context, whereas in the real world it is quite fucking bonkers.

Hence you can construct a grandiose area that supports the games intentions while delivering a compelling experience due to limited restrictions. Limited restrictions being memory and deadlines though given the current state of equipment, memory doesn't seem to be a massive issue; that is if you don't go over the top and know to pace your level; don't clutter expensive assets etc.

Out of place

At any rate, there are certain attributes and techniques a level designer will use when creating a level, here are a few:

Silhouette: This not only serves as one of the best designing tools but also takes purpose in the actual game. Team Fortress is a very good example of this as by just looking at the characters you can tell who they are, even from across the map which means a player can easily identify who it is.

Team Fortress character sheet

Function: As explained above.

Storytelling: This is pretty much the same as function however it has more purpose. The level should tell a story all in itself. For example: In Modern Warfare 2 you shoot your way through a favela in Brazil. Just by looking at the scene you can tell that it is a deprived area; shanty town, broken/stripped cars and other vehicles as well as trash and junk all over the place - a real shit hole.

Favela

Going back to function and silhouette for a second, some of these buildings have a 2^nd floor, windows and doors as well as some other chest high walls here and there. The player, in the heat of a gunfight can instantly concur that:

1. enemies are likely to poke their heads out of these windows and file out of the doorways and
2. these holes (windows) and chest high areas could also be used as a viable source of cover.
   This is what a player needs; to be able to compose a plan within an instant in order to succeed. Good use of silhouettes helps the players mind to work faster, composing plans on the fly.

Other techniques such as space and light, immersion and consistency are also employed. Immersion and consistency going hand in hand in importance. Nothing breaks a game more than to think 'yeah right' as your mortal man just jumped 30 feet to the ground and didn't seem to bat an eyelid. That said, there are certain levels of unlikelihood we as players will accept; like taking 10 bullets in the chest and still being alive or after taking said bullets in the chest only to hide behind some cover for a few seconds as the wonders of nature heal your Swiss cheese meat and potatoes.

http://deanemccullough.com/post/3124728295/bulletstorm-developers-people-can-fly-epic 

Bulletstorm developers (People Can Fly & Epic Games) take the piss out of the Call of Duty franchise

Something that broke immersion for me in the much acclaimed (and boned over) Uncharted 2: Among Thieves (among many other things) was the part where he climbs out of the train in the mountains. He has been shot in the side, yet still manages to climb up this derailed train that's hanging over a cliff in the freezing cold weather only to then trudge through the snow in nothing but his jeans and jumper fighting off the bad guys.

Coincidence?

During all of this he is bleeding profusely from his gut which would make him cold from blood loss, then factor in the freezing conditions of the mountain and you'd have one dead Nathan Drake. Not only that but if you've ever had even just a bruise on your side, even the simplest act of lifting your arm becomes a tad painful, let alone going for a little climbing exercise.

However that is more of a storyboard error than level design. An example of an immersion breaking design flaw would be for example, in a shooter; you have guns that shoot lead and grenades that blow shit up. Right, so you've blown up that lovingly placed crate and it's now pencil shavings. However, that wooden door over there, no matter how much you unload into it or how much explosives you use, it doesn't leave a dent.

Some games that boast destructibility, like Black, also fall short on this. What broke the immersion for me in this games was that everything I could blow up and smash to pieces seemed almost too planned out. Especially the cars that you can blow up. They were never out of the way, or down some alley; no, they were always in the center of somewhere, where enemies would ALWAYS run to. Whenever I saw a car I just waited for the fuckwit ensemble to merry it's way over there, oblivious to the fact their mother and sister are the same person, to then fill their organs with the finest of German engineering.

On top of that, despite supposedly EVERYTHING being destructibility, there was a wall in a house, made of buggered plaster and withered planks that was surprisingly invincible. A 3 inch thick wall stopped bullets that go through stone like butter. This broke my immersion, because for having so much fun in this game, blowing shit up, an enemy was behind this wall where I felt particularly clever with the idea to exploit said destructibility by shooting through this weak wall and killing him without a face to face confrontation. Denied.

It's key for level designers to work with the storyboarders, this allows for a more streamlined, immersive experience when handled properly. Thinking like the player helps here; should I put more cover here? A chest, more enemies or a puzzle etc. A map that goes from A to B appears easier to design, as you are guiding the player through and so testing this would be easy. However a sandbox game or an open world must be far harder to populate. Is there anything truly memorable about the streets of GTA, or the arid lands of Red Dead Redemption? Only that they look pretty. Compare that to then something tailored like scaling Mt. Olympus on the back of a titan in God of War 3. 

Here is an environment I particularly like:

It's Warsong Hold from World of Warcraft. The story behind it is that the evil bad guy sent some of his minions to strike fear into the hearts horde members in the capital. The horde built this in the bad guys lands as a response - 'the Horde fears nothing.'  

What made this particularly cool was that it is the first building of this kind you see for the horde. This base is the start of the content and so to turn up here, see this great black stone keep with fire and spikes jutting out of the country side as YOUR base inspires you, the player. It represents intimidation, dominance and immovability - which is what the Horde is. Now, many of the Horde structures in World of Warcraft employ this architecture including the rebuilt capital of Orgrimmar which has been there since the start. 

It tells a story in itself whenever you see it, that the horde started out with wooden and clay structures, as if to fall down at any moment and now the massive black stone structures of superiority. 

As for this particular place, you can tell that it is in a quarry, however there are also cobwebs all over the place. Instantly you know what's going on. The Horde are mining resources yet now they've come under attack by a spiderlike race and need to defend. The first several quests have you clearing out the immediate area from all foes. They put you straight into the action; no 10 minute walk to the quest area, it's right here, right now! This was a brilliant set piece by Blizzard to get the expansion going. 

Semester 3

Right, just got back to uni yesterday, and after a nice break I'm ready to get on with some work.
Going to set a breif reading list for this term (to be done by summer break) which should keep me nicely occupied.

Books to read: I've bought a few books over the year to do with art yet never really picked em up for more than a few minutes here and there. Therefore they will be going here on top of other things.

Mastering Composition - Ian Roberts: "Without it(composition), even the most compelling subject will look flat on the picture plane."

Atlas of Human Anatomy for the Artist - Stephen Rogers Peck: Life drawing can only teach you so much, knowing what lies under the skin and that which causes us to move the way we do is an invaluable, if not mandatory, base of knowledge for getting anatomy right.

Color and Light - James Gurney: Speaks for itself really. I'll be combining this book with the Colour Mixing Bible to help get a solid grounding on colour theory.

This post was more about a reading list than anything else, I may edit some more info in at a later date (after assessment) so to bulk out and have a solid work plan.

Something about a Sheriff?

More tac; this time two.

'A medieval wooden sheriff with big eyes.'

So I did this and forgot about the whole wooden thing and the fact he's meant to be from medieval.
Anyway, was trying a different technique here, instead of using the tone first, colour second approach I just went straight into colour using the soft brush and different saturations + colour picker tool to blend. Not bad for first time sing that I think. Really simple design but had the idea to have him look down the scope of his rifle to give him the 'big eye' part.
Yeah, looks pretty shit. Think I should stop saying whether I think it looks shit or not given my current level of expertise.

So I tried again but this time forgot about the big eyes bit.. and the wooden again. Colours look a bit translucent and the overall design is pretty mediocre. Was a little stumped for what to do for a sheriffs hat so on the spot decided a pikeman helmet would be good.

Oh, I should say that I used the lasso tool a lot for this, especially the first one. Don't know quite what to think about it at the moment. Should probbaly use it more and refine it somewhat yet feeling the urge to drop it. Don't like using it.

Update

So I've been slacking completely, with my sleeping pattern completley screwed up I've not been very productive.

I can't remember the brief exactly but I think it was: 'A withered king with a mutated arm'. Bit shit really. Come to realise I don't like doing backgrounds; likely due to fear of doing them. I did this in the usual way i.e. work out tone first then do a colour overlay. It seems to be the only way I work for characters so either gona have to refine it a hell of a lot or stop myself and use a different approach.

Incase you can't see the mutated arm it's the one hidden from sight (as you probably would), nothing really abnormal other then the fact it's quite long and has long fingers. Wasn't thinking too much on this one, so yeah pretty shit. Might start with some quick thumbs on later ones.

#5: "A nuclear pharaoh in robes! "

So I thought instead of spending half an hour wondering what to paint I decided to try one of those new-fangled idea generatorifiers. Passing by several ideas I came across this one: "A nuclear pharaoh in robes!"

Was going to discard that idea n'all, instead I took just a second to stop and think for a moment and came to the conclusion that this must be a great idea! Cus if I want to do it then it's obviously a great idea, m'kay.

Really happy with how this turned out. A few things that are meh but over all I'm quite proud of the concept and colour pallette. Well, colours to an extent.

The breif was a Pharoah wearing robes with a nuclear motif to it. More skirt than robe but is there really a difference? Gave him the standard headress but with a gasmask face as well as some obvious radioactive symbolism, like the altered ankh. On top of this I gave him sickly pale skin as well as a general sickly looking pallete to emphasis a sort of decay that nuclear power produces. The colours are similar to that, also, of WW2 uniforms and such, can also be strongly related to nuclear power, the gasmask adds to this further.

Added in the protons(?) thing to add some wierd arcane vibe to it while retaining relevance to nuclear power. Pharoahs were the most powerful people of their time so having wierd balls floating around you could probably be taken as powerful. (We fear what we don't understand, and fuck knows if I'd understand why someone would have shit floating around em like that)

Though it's hard to see in that image, the nuclear core thing in the center of his chest has wierd wiring coming out of it, based on a nuclear reactor. The placement of it is also relevant to the proton gibble.
And finally the headress is actually meant to represent a chimney, hopefully realised by the smoke bellowing out of it.

As with all characters I create there are generally stories behind them. This guy is intended to be reminiscent of a horseman of the apocalypse. The mask covers his eyes, an old trick to make something look soulless and inhuman. Also spreading toxic fumes wherever they go.

I suppose the idea was to make it look more like an Egyptian god, where they have the head of an animal. I had to try and give this he head of 'nuclear'... bit wierd but meh.