Using the plans in this way i can use the same techniques i learnt when working on the Bulwell Academy Project.
Live Client Brief - Building the house
I have imported the plans sent into 3ds max to enable to accurately build the house to scale.
Using the plans in this way i can use the same techniques i learnt when working on the Bulwell Academy Project.
Using the plans in this way i can use the same techniques i learnt when working on the Bulwell Academy Project.
Live Client Brief - The Plans
Below is the house i shall be creating for my live client brief. I will have to build the house, and also add basic models to the exterior and interior.
Live Client Brief - The Client's Brief
Problem needed to be solved by Multimedia and suggested solutions
Complete a detailed visualisation of a building (tba) using supplied architectural plans, cad drawings etc. A fly-through may also be required, this would require basic modelling relevant to any rooms indicated on plans.
Specific requirements for multimedia
Various renders, flythrough illustrating building layout
Complete a detailed visualisation of a building (tba) using supplied architectural plans, cad drawings etc. A fly-through may also be required, this would require basic modelling relevant to any rooms indicated on plans.
Specific requirements for multimedia
Various renders, flythrough illustrating building layout
Live Client Brief - The Company
The company who agreed to help with this project is S & B Construction based in Kings Langley, Hertfordshire. My contact within the company for this project is an office junior, Mr M. York, with whom I will liaise with throughout the duration of the project.
Tasks during a typical project include liaising with the client and measuring up the structure or landscape. Provisional drawings (elevations, sections, floor plans etc) and visualisations (renders of exterior, interior, fly-through etc) are then created and sent to the client for approval and local authorities for planning permission. Once received, any necessary amendments are made to the drawings; the construction team that has been organised shall then begin preparations for the job, the construction overseen by the original designer.
Tasks during a typical project include liaising with the client and measuring up the structure or landscape. Provisional drawings (elevations, sections, floor plans etc) and visualisations (renders of exterior, interior, fly-through etc) are then created and sent to the client for approval and local authorities for planning permission. Once received, any necessary amendments are made to the drawings; the construction team that has been organised shall then begin preparations for the job, the construction overseen by the original designer.
Live Client Brief - The Brief
The live client brief is giving me a chance to work with a real client, developing a solution through the full life cycle of a project. The client choice should be relevant to the speciality that we wish to focus on.
This project requires a reciprocal relationship between student and client, where benefits from working together can be gained; the client receiving a useful piece of multimedia, and student gaining valuable experience working within a professional environment.
This module aims to help provide opportunities to demonstrate design and problem solving skills; this ultimately helping to consolidate multimedia knowledge. The module should also help to demonstrate awareness of the multimedia’s practitioner’s roles and responsibilities relevant to the industry.
This project requires a reciprocal relationship between student and client, where benefits from working together can be gained; the client receiving a useful piece of multimedia, and student gaining valuable experience working within a professional environment.
This module aims to help provide opportunities to demonstrate design and problem solving skills; this ultimately helping to consolidate multimedia knowledge. The module should also help to demonstrate awareness of the multimedia’s practitioner’s roles and responsibilities relevant to the industry.
PRP - Artifact 1
The essay part of the PRP module is now complete, the next part to this project is to create six artefact's backing up my theories from my writing.
My first artifact is a simple survey, it can be found at:
http://www.surveymonkey.com/s/ZHV5L5Q
My first artifact is a simple survey, it can be found at:
http://www.surveymonkey.com/s/ZHV5L5Q
Client Project - Storyboard (with draft renders) *Updated
Original storyboard renders, but with draft renders of scenes added. *Updated with a draft render of location 2, the room.
PRP - Research
Game level design
Edward Byrne
Book overview
As a level designer in the game industry you can determine exactly what the player sees, hears, and feels in the game. The reward of seeing your game on a store shelf or hearing people talk about one of your levels is an incredibly fulfilling experience. If this is a path you want to take, Game Level Design will show you the way.This book is about the fundamentals of level design: it teaches you common procedures for designing, drafting, and creating interactive environments for games. It explains what level design is, where it came from, and, most important, how to plan, design, and construct levels professionally for modern-day computer and video games. Throughout the book, practical explanations and demonstrations use the basic, advanced, and real-world techniques needed to create game levels for hit titles. It also uses historical examples, interviews with outstanding level designers, and a focus on professional level design, to teach game developers of all levels, from amateur ?mod? mappers to seasoned multi-title veterans, how to implement these techniques into your own projects. Although the content in the book uses many examples from popular genres, such as first-person shooters (FPS), action adventures, and real-time strategy (RTS) games, the approach is designed to teach level design as a genre- and platform-independent craft. All games need to take place in environments, and by extension, the rules of level design apply to all games to some degree, so with the skills and techniques you learn here, you?ll be ready for any level challenge.
Edward Byrne
Book overview
As a level designer in the game industry you can determine exactly what the player sees, hears, and feels in the game. The reward of seeing your game on a store shelf or hearing people talk about one of your levels is an incredibly fulfilling experience. If this is a path you want to take, Game Level Design will show you the way.This book is about the fundamentals of level design: it teaches you common procedures for designing, drafting, and creating interactive environments for games. It explains what level design is, where it came from, and, most important, how to plan, design, and construct levels professionally for modern-day computer and video games. Throughout the book, practical explanations and demonstrations use the basic, advanced, and real-world techniques needed to create game levels for hit titles. It also uses historical examples, interviews with outstanding level designers, and a focus on professional level design, to teach game developers of all levels, from amateur ?mod? mappers to seasoned multi-title veterans, how to implement these techniques into your own projects. Although the content in the book uses many examples from popular genres, such as first-person shooters (FPS), action adventures, and real-time strategy (RTS) games, the approach is designed to teach level design as a genre- and platform-independent craft. All games need to take place in environments, and by extension, the rules of level design apply to all games to some degree, so with the skills and techniques you learn here, you?ll be ready for any level challenge.
PRP - Research
Representations of the city in video games
Bobby Schweizer
Abstract
In 1960, urban studies author Kevin Lynch recognized that “moving elements in a city, and in particular the people and their activities, are as important as the stationary physical parts.” Three-dimensional video game cities are neither static environments nor stationary views; rather, they are experienced through movement, action, and play. Our experiences of new places are not developed at a glance. Instead, they are cultivated through use over time. This research strives to characterize the means by which video game players experience and understand the space of the game city during the course of play.
This work utilizes games that take place in constructed versions of New York City as a case study. By focusing on the ways players navigate spaces, we can understand how they construct spatial awareness and how this space is transformed into a meaningful place of play. In order to come to this understanding, this study asks a series of questions: How are these spaces arranged? How does the player move through the space and how does the game teach spatial navigation? What actions are performed in the space and how is gameplay adapted for the city? How does the creation of narrative environments contribute to a player’s identification with the space? These questions are examined within a framework of urban, cultural, and game studies. I examine techniques that are employed by video game city designers to help players navigate space and make it meaningful. Additionally, this research poses areas for future expansion and experimentation with game cities.
Bobby Schweizer
Abstract
In 1960, urban studies author Kevin Lynch recognized that “moving elements in a city, and in particular the people and their activities, are as important as the stationary physical parts.” Three-dimensional video game cities are neither static environments nor stationary views; rather, they are experienced through movement, action, and play. Our experiences of new places are not developed at a glance. Instead, they are cultivated through use over time. This research strives to characterize the means by which video game players experience and understand the space of the game city during the course of play.
This work utilizes games that take place in constructed versions of New York City as a case study. By focusing on the ways players navigate spaces, we can understand how they construct spatial awareness and how this space is transformed into a meaningful place of play. In order to come to this understanding, this study asks a series of questions: How are these spaces arranged? How does the player move through the space and how does the game teach spatial navigation? What actions are performed in the space and how is gameplay adapted for the city? How does the creation of narrative environments contribute to a player’s identification with the space? These questions are examined within a framework of urban, cultural, and game studies. I examine techniques that are employed by video game city designers to help players navigate space and make it meaningful. Additionally, this research poses areas for future expansion and experimentation with game cities.
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