| Course Objectives: |
This course is designed to teach beginner-level digital hard surface asset authoring and video game-oriented visual design in a digital environment. The course is aimed to teach the basics of industrial and architectural design, including scale, ratio, material properties, and manufacturing techniques for videogame and level oriented design purposes. At the end of the semester students will present their completed works in concept art portfolios 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, remix, conceptualize, design, and model imaginary three-dimensional polygonal objects while mastering the creation of ideal surface topologies, building both high and low-density polygonal geometries, achieving consistent uv unwrapping, as well as learning the basics of PBR shaders, utilization of intermediary texture maps, and multi-channel texture painting. Students will learn to control complex software and establish a workflow between multiple procedures to finalize assets that could be used in videogame developments. |
| Week |
Subject |
Related Preparation |
| 1) |
Introduction to class. Discussion, meeting, topics, rules, requirements. |
Prepare for the course. |
| 2) |
Introduction to modeling. Basic technical drawings.
Introduction to Maya, UI, navigation, tools. |
Start working on your "Simple Object 1" models, using the provided technical drawings. |
| 3) |
3D topology and principles of clean modeling.
Importance of dimensional accuracy in digital design.
Edge smoothing and face normals. |
Start working on your "Simple Object 2" models, using the provided technical drawings. |
| 4) |
3D topology continued.
Subdivisions and smoothing meshes. |
Finish your "Simple Object 2" models. |
| 5) |
Manufactured objects and importance of working with references.
Complex technical drawings. |
Start working on your "Shipping Container" models, using the provided technical drawings. |
| 6) |
Critiques and comments. |
Work on your "Shipping Container" models. |
| 7) |
Fundamentals of UV procedures.
Unwrapping UVs. |
Unwrap your "Shipping Container" models. |
| 8) |
Introduction to texture painting.
Introduction to Substance 3D Painter, UI, navigation, tools. |
Start creating materials for your "Shipping Container" models. |
| 8) |
Introduction to texture painting.
Introduction to Substance 3D Painter, UI, navigation, tools. |
Start creating materials for your "Shipping Container" models. |
| 9) |
Critiques and comments. |
Finish your textured "Shipping Container" models. |
| 10) |
Designing videogame assets.
Concept design examples for fictional in-game objects. |
Start designing and modeling your "Chests, Cases, Crates, Canisters" assets. |
| 11) |
Hi-poly to low-poly process. Baking intermediary texture maps. |
Work on your "Chests, Cases, Crates, Canisters" assets. |
| 12) |
Texture painting techniques.
Extra details, weathering, visual storytelling. |
Work on your "Chests, Cases, Crates, Canisters" assets. |
| 13) |
Setting up renders for portfolio presentation. |
Render your finished models/assets and place your renders in a presentation template. |
| 14) |
Critiques and comments. |
Prepare for end-of-semester exhibition. |
| 15) |
Finals. |
Final submissions. |
| Course Notes / Textbooks: |
Dersin belirli notları veya bir kitabı yoktur. The course has no specific notes or a book. |
| References: |
An Architectural Approach to Level Design: Second Edition, Totten C. W., CRC Press, 2019
Level Design: Processes and Experiences, Totten C. W., CRC Press, 2021
Preproduction Blueprint: How to Plan Game Environments and Level Designs, Galuzin, A., CreateSpace Independent Publishing Platform, 2016
Level Design: Concept, Theory, and Practice, Kremers, R., CRC Press, 2009
Making Videogames: The Art of Creating Digital Worlds, Harris, D., Wiltshire, A., Thames & Hudson, 2021
Drawing Basics and Video Game Art: Classic to Cutting-Edge Art Techniques for Winning Video Game Design, Solarski, C., Watson-Guptill, 2012 |
| |
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. |
2 |