Game Design Process:
Anthony, Eric, and I were given the task to design a game that used coins and had to be played with one hand. A very interesting challenge. I think that we tackled this task extremely successfully.
We started by brainstorming and making lists, of games we knew that involved coins. We decided that the most successful coins games, were ones that we similar to sports. We all agreed that a coin based version of Shuffle Board would be great.
We drew up a game board prototype on some notebook paper, and started playing with some coins we had in our pocket. We then had an idea! What if each coin had a specific property attached to it. This would include our one-handed rule that we were given. We decided that there would be some coins with handycaps, and others with bonus points.
We then got user test our game with some of the students in another section. Because we had our directions written out, we didn’t need to explain anything to them. They played the game almost exactly as we had wanted! How fantastic! There were however a few questions about our rules that arose in the testing. “Was 100 points too high of a goal?”, “What should be the maximum and minimum amount of players?”
We were also given the task of using the laser cutter here to help with our prototype. We laid out the entire game board, coins, and rules to be cut out on masonite. It looks AMAZING! Also, the material helps the coins slide.
First of all I love the TED talks. They are always so inspirational, and so informative. It is great to hear amazing speakers (who are in my industry) speak about amazing things.
Tim Brown’s talk about the importance of creativity and fun in the workplace and in our lives was so wonderful. It’s true that as adults we judge our own ideas, and censor them. This inhibits us from freely generating concepts. I feel that as we get older we think more and more “inside the box”, mostly due to fear. But if we are constantly encouraged, but our peers and our environment, the possibilities are endless.
In reading The 12 Principles of Animation it seemed that all of these animation techniques seemed so obvious. Ollie Johnston and Frank Thomas talked about how a lot of these methods were not very obvious during the early days of animation. Through experimentation and time, eventually these principles were developed.
When reading through them, they all seemed so self-explanatory. I wonder if background in dance and choreography has something to do with this. It could be that dance is almost like live action animation.The principles that I think relate the most were staging, follow through, and timing. It could be that dance is almost like live action animation.
Ah the process of creating an animatic!
I started off by creating a flip book consisting of 50 frames. Although it took an insane amount of time to draw each frame by hand, I thought the final product was pretty cool. I had never made anything like that before.
From there I developed the story a little further. I knew that I wanted the narrative to be a little more complex for my final animatic, so I drew out a story board. This would help me organize exactly what frames I would want to include in my animatic and eventually save me a lot of time.
Then the final steps were illustrating my frames in Illustrator and cutting them together with some sound in Final Cut Pro. I am pretty happy with the final product. Everytime I watch it I laugh.
Response to the following reading:
1. Understanding Comics by Scott McCloud: Chapters 4 (Time) and 5 (Line)
2. The Cambridge Introduction to Narrative by H. Porter Abbott: Chapter 1
The readings stress importance of time and emotion in how they relate to narrative. Specifically in a 2-dimensional medium, such as graphic design, these elements are crucial to the success of the work. Most of my design work has been in interactive and print design, and even though this type of content doesn’t have such obvious narrative, it still uses a similar structure. I attempt to tell stories in my work, and the images, colors, and composition helps to do this. In Chapter 4 of Understanding Comics by Scott McCloud, he talks about how the eye scans over a single static image, dividing each segment into its own period of time. This intuitive behavior, works to the designers advantage, has they can construct their designs with this in mind. This is usually done by placing important elements from left to right, top to bottom.
In addition to the placement of elements to create sequence in design, emotions can be generated. This can be done by juxtaposing elements. This conflict of images, colors, etc. creates tension within a design that helps to convey a specific emotion. Another example given in the reading is the way that icons effect emotions of the viewer. Icons are contextualized by social context and our experiences, enabling the designer to express a deeper message with the use of one symbol.
The following three images are the initial paper prototype I developed for the documentation site that I will be developing. This prototype was tested to see if its role, as an easily navigated interface, was true.
Here is a storyboard of how I envisioned my typical user to use my prototype.
A classmate of mine, tested out this prototype, and “clicked” on the buttons that I had intended for the user to click on. Success! We did however discuss how the bottom navigation lacked a home button, so that will be added for the next version. In addition, there also needs to be a way for the user to return to a project summary if so inclined.
In response to “Interaction Relabelling and Extreme Characters: Methods for Exploring Aesthetic Interactions”:
I found this particular article really interesting. In brings in mind the importance of thinking outside of the box when generating potential design solutions. I know for me, I find it so much easier to return to a solution that I am both familiar and comfortable with, but this limits any chance of innovation. The concept of interaction relabeling, generating a new physical understanding of how an audience can interact with an item opens up so many possibilities. It allows us to use things in ways in which they were never meant to be, thus discovering counter-intuitive solutions which can be developed into useful applications.
In response to “What do prototypes prototype?”:
The most important idea that I really related to in this reading, was the emphasis on integration in order for a prototype to develop into a successful product. I think that each specific type of prototype (look and feel, role, and implementation) needs to be fully explored for any given concept before the integration is able to happen. When working with a team of designers, each with specific specialties, a collaborative environment can help this process immensely. I think it is so important to share your ideas with a team. Everyone sees things differently, and has their own perspective on design solutions. Their work will inform your work, and help you create things you never would have thought of.
For the beginning steps of creating an “identity” for ourselves, I did 100 rough sketches of possible logos. Out of these 100 sketches, my classmates helped me narrow it down to 3.
Dance and Design
This sketch uses the union of a lower case “d” and an upper case “D” to emphasize both of my passions. The design is simple, and with the use of a clever tag line, can convey my interests and my work.
This particular sketch captures more of my personality than my specific interests. It is silly and unique, and in a very peculiar way, memorable. A logo like this could lead to some very creative branding elements that carry through many different mediums.
This sketch captures the essence of my work. There are many parts, yet they all fit fluidly together creating a lot of movement. This figure almost has a sense of fearlessness to it, which is how I approach many things in my life.
Above are four different layout ideas that I have for my Documentation site. Each has a different approach to the navigational elements and where the content will be displayed.