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Animation Project Development Brief

1) This unit focuses on developing skills in game design, animation, and illustration. Concept art is created to develop characters, environments, and props which can then be used in storyboards, animations, or graphic novels. 2) The brief is to create a short 2D animation for a video game or marketing material, along with a fully designed game. Research will include game production pipelines and 2D animation styles. 3) Outcomes will include concept art, a final animation posted online, and work from workshops. Interim and final submissions are due on specified dates with portfolio and research requirements.

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0% found this document useful (0 votes)
303 views3 pages

Animation Project Development Brief

1) This unit focuses on developing skills in game design, animation, and illustration. Concept art is created to develop characters, environments, and props which can then be used in storyboards, animations, or graphic novels. 2) The brief is to create a short 2D animation for a video game or marketing material, along with a fully designed game. Research will include game production pipelines and 2D animation styles. 3) Outcomes will include concept art, a final animation posted online, and work from workshops. Interim and final submissions are due on specified dates with portfolio and research requirements.

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We take content rights seriously. If you suspect this is your content, claim it here.
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UAL Foundation Diploma in Art and Design

Unit 3: Developing Specialist Practice

Unit 3- Illustration/Art- Game Design and Animation

Context
Games design is a very long process that not only includes elements of practicality and game play but
also aesthetics and visual interest. Games need to find a balance between the two to allow for an
enjoyable experience for the consumer/audience.

Concept art is necessary for any visual and fictional media product, such as films, games and
animations. This could be used to create character designs, environments, props, etc. It allows for
initial ideas to develop into a final design that can then be used in the next stage of the production
process, which will vary depending on the product. For moving image, often conveying a narrative,
storyboards will be created using the characters and environments to but a potential narrative into a
visual form. Alternatively, a final product could be a comic or graphic novel which is essentially a very
polished and carefully considered storyboard (usually with text).

Animation can be created in many forms, such as 2D or 3D, digital or traditional. 3D software is
commonly used at present times by large studios such as Disney, Pixar, Dreamworks, etc. However,
we still see digital 2D animation and stop-motion using models with clay and metal armatures or
traditional drawing that are used as frames. Animation is used everywhere, from advertising and
commercial graphics, to video games and TV shows/movies/short films, making it a widely used and
appreciated form of creative expression.

Brief

I would like to experiment with aspects of the animation pipeline to ultimately create a short, digital,
2D animation for a video game cinematic or marketing material, along with a fully designed game that
will either be fully produced as a prototype or as a marketing poster. I will create a series of 2D art
pieces, potentially acting as concept art, that will help to inspire or be used in this animation. This
project development allows for exploration in as many points of the studio pipeline as I can
realistically achieve in the time frame we have been given for this project.

I need to create a narrative/game idea, research target audiences, techniques and processes.

I will do research primary research from galleries and museums to see what techniques and visual
appearances I can take into my concept art for the first stage of the project.

Secondary research with be into the production pipelines of games such as Little Nightmares, and the
artists/animators who worked on these projects. I would also like to look into the work of other 2D
animation projects for films and videos that aren’t necessarily related to games to get a broader
scope of the potential of 2D animation.
Using Adobe software such as Photoshop, Illustrator and Animate, I think most of the production
process will be completed digitally, however I would like to experiment with traditional animation
and/or stop-motion.

We will be completing workshops throughout this project so I will need to find a way to incorporate
them into my practice.

I will need to record all my processes and outcomes with progress pictures and screenshots, and
evaluate any ‘finished outcomes’ that are created throughout the process. This could include sets of
concept art for a certain environment or character, etc. Evaluating these consistently will help to
discover errors or missing aspects that will help the process become more efficient.

Overview of Outcome(s)
Outcomes that SHOULD be created during this project are:
• Outcomes from workshops
• Concept art
• A final animation (Any video products will be posted on YouTube and linked onto my website)

SUBMISSION DATE:
- Friday 27th January – Interim Assessment
- Friday 17th March 2023 (work must be on virtual exhibition/class exhibition, added to your
portfolio and social media sites by this date)
Group Crits: 5th January 2023 and 27th February 2023

Suggested Research

• Tarsier Studios- Little Nightmares:


-Concept Artists - Jonas Steinick Berlin and Petrus Johansson
-3D Artists - Sebastian Bastian Claesson, Ole Josefsen and Simon
Furbo Christiansen
-Animators - Rory Sweeney and Mattias Göransson
-Marketing Artist - Pawel Nowakowski

• Gorillaz:
-Illustrator, Animator - Jamie Hewlett

• Inside Pixar, The Pixar Story, A Spark Story


-Pixar production documentaries

• Meppity and Lemoncholy

• Experimental Animators

• Illustration/Animation Books
Suggested Materials/Processes

• Sketchbook
• Pencils and fineliners
• Alcohol markers
• Watercolour and gouache
• Air-dry clay
• Adobe Photoshop
• Adobe InDesign
• Adobe Illustrator
• Adobe Animate
• Adobe Premier Pro

Checklist for Submission

• 750-word review
• Reflective diary / analysis of work
• In-depth research* and critical review into your chosen discipline looking at styles and
artists.
• A vast selection of technical and practical experimentation based on your research.
This experimentation must enhance your unit 4 work
• The experimentation work must be presented in professional way and show
development of how you got to the final pieces
• At least 6in-depth experiments must be submitted to show development of skills
• Evidence of group critic sessions
• Evidence of workshops provided (these will be specialised for student / medium) that
help you progress
• Reflective analysis of your final pieces
• Work must be presented on a website
• Final pieces as well as experimentation to be put on virtual exhibition site as well
‘classroom exhibition’
• Evidence of you submitting your work on your social media sites in order to promote
your skills

*Research can and in some cases must include interviews with professionals, Virtual gallery
tour, artist and style research from books and internet.

Common questions

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An artist might face challenges such as differing skill requirements and time demands when experimenting with both 2D and 3D animation techniques. Each technique involves unique software, tools, and artistic skills, requiring extensive learning and adaptation. To address these, artists can streamline processes by focusing on complementary techniques that integrate seamlessly, seeking targeted training to fill specific skill gaps, and collaborating with experts in the areas they lack proficiency. Utilizing project management strategies and efficient communication within multi-disciplinary teams can also help manage complexity and workflow effectively.

Digital animation software like Adobe Animate provides significant advantages such as efficiency in editing, ease of experimenting with different effects, and seamless integration with other digital processes. It allows for complex animations to be done more economically and quickly than traditional methods. However, it can lack the texture and warmth often found in traditional methods, where the tactile involvement in materials such as paint and clay can convey a more handcrafted feel. The choice between digital and traditional methods should consider the needed depth, texture, and personal artistic expression desired in the project.

Utilizing both digital and stop-motion techniques in video game animation provides a unique blend of precision, flexibility, and tactile authenticity. Digital techniques offer the benefits of extensive editing capabilities, faster iteration, and incorporation of complex visual effects. Stop-motion adds an organic, palpable texture and distinct visual quality that can create a more evocative or unique aesthetic. Combining the two can enhance the narrative richness and visual depth, appealing to a wider audience and providing a richer interactive experience.

Regular evaluation and critique of workshop outcomes are crucial as they help identify errors, understand missing aspects, and gauge the suitability of techniques and materials used. This ongoing analysis fosters continuous improvement and ensures that the final animation product aligns with initial objectives and artistic vision, providing a more effective workflow and efficient project execution. Consistent reflection allows for the refinement of both creative techniques and processes, ultimately enhancing the final quality of the animation production.

Promoting final animation pieces through virtual exhibitions and social media is significant as it allows artists to reach a global audience, expand their visibility, and gain critical feedback from a diverse viewer base. Digital platforms provide the ability to engage directly with communities and potential collaborators, fostering networking and career opportunities. In today's digital-centric world, maintaining an online presence is crucial for securing a competitive edge and establishing a personal brand in the creative industries.

Incorporating primary research from museums and galleries is vital in the concept art creation for video games as it offers exposure to a diverse range of techniques and visual appearances. This firsthand exploration can inspire and inform the development of unique and historically informed visual styles, enhancing the richness and authenticity of the concept art. It broadens the artist's perspective and contributes to more innovative and culturally significant visuals in the game design.

Concept art is a crucial component in game design as it serves to bridge the gap between initial ideas and final designs, facilitating the development of characters, environments, and props that are visually appealing and aligned with gameplay mechanics. It provides a visual framework that ensures the aesthetic quality enhances, rather than detracts from, the gameplay experience, thus achieving balance and harmony essential in engaging the consumer.

Group critique sessions provide valuable feedback and diverse perspectives that challenge an artist’s approach, leading to enhanced problem-solving skills and innovation. Evidence of workshops demonstrates active skill development and process refinement, giving artists the chance to test and refine their methods and ideas in a collaborative environment. These activities promote reflective practice and adaptability, crucial for advancing project quality and personal artistic growth in game design and animation.

Narrative storyboards play a vital role in the conceptualization stage of a game design project as they provide a visual outline of the storyline and gameplay flow. This helps align the design team on a cohesive narrative strategy, ensuring that all gameplay elements and art assets contribute effectively to the story. They facilitate early problem identification in narrative pacing and cohesion, allowing for adjustments before full-scale production, reducing risks and inefficiencies. Storyboards also enhance communication among teams, streamlining the collaborative process.

Interdisciplinary research is pivotal in enriching the narrative and artistic style of a video game animation project as it amalgamates insights from various fields such as literature, psychology, cultural studies, and visual arts. Such diverse influences contribute to a multidimensional narrative experience that resonates more deeply with audiences by bringing fresh perspectives and a robust contextual background to the narrative framework. Various artistic styles and motifs are also enhanced, introducing an aesthetic variety that can keep players engaged and emotionally invested in the game world.

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