| Digital Game Design (English) | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
| Course Code: | DGD060 | ||||
| Course Name: | Procedural Material Design | ||||
| Semester: | Fall | ||||
| Course Credits: |
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| Language of instruction: | English | ||||
| Course Condition: | |||||
| Does the Course Require Work Experience?: | No | ||||
| Type of course: | Departmental Elective | ||||
| Course Level: |
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| Mode of Delivery: | Face to face | ||||
| Course Coordinator: | Öğr. Gör. MEMDUH CAN TANYELİ | ||||
| Course Lecturer(s): | Lect. Memduh Can Tanyeli | ||||
| Course Assistants: |
| Course Objectives: | This course is designed to teach beginner to advanced level PBR material authoring using procedural and/or parametric digital production methods. The course is aimed to teach the basics of material design, including light propagation and surface properties such as reflectivity, roughness, dielectricity, and micro details. At the end of the semester students will present their completed works in material sample charts and demonstrate the skills they have achieved so far in a manner expected from videogame industry professionals. |
| Course Content: | The students will learn to research, assess, understand, and reproduce through procedural design methods the properties of various natural, artificial, as well as fantastic or imaginary surfaces and materials for digital visualization and videogame production. Students will learn to expertly create and manipulate discrete channels found in PBR shader workflows and author ready-to-use material packages that can be deployed directly to other software or game engines or be utilized as paint-ready materials in model painting software. |
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The students who have succeeded in this course;
1) Students will learn the ability to envision and design artistically and physically accurate and consistent materials for 3D videogame productions. 2) Students will learn using advanced software and complex workflows for designing and producing digital assets for videogame development. 3) Students will learn researching, as well as seeking and drawing inspiration from reference material for designing digital representations. 4) Students will improve their technical and workflow related know-how and learn to mathematically design and manipulate visual and/or artistic videogame content. |
| Week | Subject | Related Preparation |
| 1) | Introduction to class. Discussion, meeting, topics, rules, requirements. | Prepare for the course. Install Substance 3D Designer and Painter. |
| 2) | Fundamentals of PBR shaders. Introduction to Substance 3D Designer, UI, navigation, tools. Discrete channels and intermediary maps. | Find reference images for an exposed concrete surface and start creating your "concrete material" projects. |
| 3) | Creating and manipulating noise maps. | Work on your "concrete material" projects. |
| 4) | Layering procedurally generated content. | Work on your "concrete material" projects. |
| 5) | Modifying values for various channels of PBR materials. Automatically generating normal maps. | Finish your "concrete material" projects. |
| 6) | Masks. Layering materials. | Find reference images for a tiled surface (brick, wall tile, mosaic, etc.) and start creating your "tiled surface material" projects. |
| 7) | Advanced masking. Procedurally generated damage. | Work on your "tiled surface material" projects. |
| 8) | Advanced generators and weathering. | Work on your "tiled surface material" projects. |
| 9) | Smart materials. Exposing values for outside control. | Finish your "tiled surface material" projects. |
| 10) | Smart materials. Mesh based material generation. | Find reference images for a surface with 3 or more layers (artificial, natural, or fantastic) and start creating your "imaginary material" projects. |
| 11) | "Seed" and variations. | Work on your "imaginary material" projects. |
| 12) | Micro details and coat layers. | Work on your "imaginary material" projects. |
| 13) | Critiques and comments. | Finish your "imaginary material" projects. |
| 14) | Showcasing materials in a presentation format. Critiques and comments. | Prepare for end-of-semester exhibition. |
| 15) | Finals. | Final submission. |
| Course Notes / Textbooks: | Dersin belirli notları veya bir kitabı yoktur. The course has no specific notes or a book. |
| References: | Ben Cloward, YouTube channel, https://www.youtube.com/@BenCloward Adobe Substance 3D, YouTube channel, https://www.youtube.com/@Substance3D Flipped Normals, YouTube channel, https://www.youtube.com/@FlippedNormals/videos |
| Course Learning Outcomes | 1 |
2 |
3 |
4 |
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| Program Outcomes | ||||||||
| 1) Being able to write creatively, imagine, and produce original and inspired fictional scenarios, places, and universes. Being able to produce 2D and 3D visual designs and impressive auditory compositions. Being able to plan all these artistic practices around certain goals and with a focus on design. Being able to design the videogame design process itself. | 3 | 1 | 1 | |||||
| 2) Being able to think and produce creative content based on mathematical data. Being able to parametrically design. Being able to quantify art and design practices, such as creative writing, graphical, illustrative, spatial, and character design. Being able to ideate qualitatively and subjectively through quantitative and objective approaches. | 1 | 1 | 1 | 3 | ||||
| 3) Being able to work on projects by incorporating various fields of expertise and the content that originates from these fields. Being able to work as part of a team while embracing different ideas and skills. Being able to produce comprehensive and total videogame concepts. Being able to edit, exhibit, present, and defend works in portfolio and presentation formats. | 1 | 1 | ||||||
| 4) Achieving critical thinking literacy on videogame history and theory. Being able to think through and produce academic texts about the philosophical, anthropological, political, and social manifestations of games. Being vigilant about the contemporary problematics of videogame epistemology. Displaying professionalism in accepting criticism. | 1 | |||||||
| 5) Being informed about the historical accumulation and contemporary productions of the videogame culture and other cultural playgrounds from which videogame culture draws. Being able to tackle, process, and position both aesthetic and technical production and thinking methods as cultural activities. | 2 | |||||||
| 6) Being knowledgeable about the past, aware of the present, and foresighted about the future potentials of the social and economic realities of videogames. Being able to handle professional relations, create correspondence, and manage production plans. Being a generalist, while also specializing in one or more areas of expertise. | 1 | |||||||
| 7) Being able to research, filter data, and synthesize both within and outside videogame epistemology at every stage of production. Being able to conduct interdisciplinary research. Being able to create original ideas by remixing content from various sources. Learning to learn. | 1 | 3 | 1 | |||||
| 8) Understanding, learning, and using professional content authoring tools and technologies. Being able to design workflows in service of various production requirements. Being able to use technologies within the workflow besides the usual and intended purposes, and researching, discovering, and putting to use technologies for new purposes. | 3 | 2 | ||||||
| No Effect | 1 Lowest | 2 Average | 3 Highest |
| Program Outcomes | Level of Contribution | |
| 1) | Being able to write creatively, imagine, and produce original and inspired fictional scenarios, places, and universes. Being able to produce 2D and 3D visual designs and impressive auditory compositions. Being able to plan all these artistic practices around certain goals and with a focus on design. Being able to design the videogame design process itself. | 3 |
| 2) | Being able to think and produce creative content based on mathematical data. Being able to parametrically design. Being able to quantify art and design practices, such as creative writing, graphical, illustrative, spatial, and character design. Being able to ideate qualitatively and subjectively through quantitative and objective approaches. | 3 |
| 3) | Being able to work on projects by incorporating various fields of expertise and the content that originates from these fields. Being able to work as part of a team while embracing different ideas and skills. Being able to produce comprehensive and total videogame concepts. Being able to edit, exhibit, present, and defend works in portfolio and presentation formats. | 1 |
| 4) | Achieving critical thinking literacy on videogame history and theory. Being able to think through and produce academic texts about the philosophical, anthropological, political, and social manifestations of games. Being vigilant about the contemporary problematics of videogame epistemology. Displaying professionalism in accepting criticism. | 1 |
| 5) | Being informed about the historical accumulation and contemporary productions of the videogame culture and other cultural playgrounds from which videogame culture draws. Being able to tackle, process, and position both aesthetic and technical production and thinking methods as cultural activities. | 1 |
| 6) | Being knowledgeable about the past, aware of the present, and foresighted about the future potentials of the social and economic realities of videogames. Being able to handle professional relations, create correspondence, and manage production plans. Being a generalist, while also specializing in one or more areas of expertise. | 1 |
| 7) | Being able to research, filter data, and synthesize both within and outside videogame epistemology at every stage of production. Being able to conduct interdisciplinary research. Being able to create original ideas by remixing content from various sources. Learning to learn. | 2 |
| 8) | Understanding, learning, and using professional content authoring tools and technologies. Being able to design workflows in service of various production requirements. Being able to use technologies within the workflow besides the usual and intended purposes, and researching, discovering, and putting to use technologies for new purposes. | 3 |
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 1 | % 10 |
| Homework Assignments | 3 | % 60 |
| Final | 1 | % 30 |
| total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 70 | |
| PERCENTAGE OF FINAL WORK | % 30 | |
| total | % 100 | |
| Activities | Number of Activities | Preparation for the Activity | Spent for the Activity Itself | Completing the Activity Requirements | Workload | ||
| Course Hours | 14 | 2 | 28 | ||||
| Laboratory | 14 | 2 | 28 | ||||
| Homework Assignments | 12 | 3 | 36 | ||||
| Final | 1 | 8 | 8 | ||||
| Total Workload | 100 | ||||||