Jason Pook's Games Design Blog

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Client Project- Session 5

Previous (1/2,3,4)

In this session it was about getting down to the grit and pushing forward, the was some suspicions of certain people lacking in work so we decided to address that and ask for all work so far to be handed in, and any research such as images to be printed off to stick on the wall. This was all done and it was evident some had done more than others but at this stage it wasnt so crucial but the issue of raising the bar needed to be pointed out now before the problem later down the line.

With that beign said Myself, James and Viktor had produced several concept art pieces in collaboration with the block out, this was to develop ideas for the streets blocking volumes. The blocking volumes are essentially invisible walls that prevent the player from further advancing to a part of the level that they should not be able to enter, we have these purely because out project is a certain area and we do not want the player to be able to go beyong this area otherwise we have to model more and more or they see blank nothingless space which kills the realism. So instead of having an invisible wall we thought it was better design to have some form of realistic blocking in relation to the area. Ideas that myself and James discussed was things like furniture vans delivering and carrying stuff across the road, a broken down bus holding up traffic or a parade of celbrations of the world cup and so on. To make these concepts we used reference images that were photographs we had taken of the area then by putting it into photoshop we created a basic greyscale concept of our ideas.

block progress 2 This is my first concept piece, this is down trinity house lane. I have place the blocking just after the indoor market so that the indoor market will be accessible, the blocking contains a market delivery van that is dropping off goods for the market such as a stall to go inside with like fruit and vegetables. The idea i had was that one of the boxes had been spilt and apples or vegetables could be spilled across the road with collisions on so you can kick them about. This gives the concept idea a place in the environment its not like ive just randomly slammed a piece of scaffolding there or something, the blocking has meaning. I go by the idea that in a game every object should have a bio to it or a story behind it, for example: who put it there, was it put there for a reason or convienience, when was it put there, why was it put there and where might it come from. If you follow that and can answer that in every asset you place and create your onto a winner. Back to the concept i have placed some silouhuettes of people to represent scale and how it will look with life in the street too.



concept parliament4

My second concept is on parliament street i was much more pleased with this concept idea as it could be used as a general overall concept theme for blocking in the area due to an event theme with the world cup celebrations in 1966. I placed a few banners here and there to give the concept height and decoration, the idea of policemen patrolling and overlooking the area to make sure that everything is under control fills out the area better. Research was put into this concept with the police car using reference of what cars were used for police cars, in this case the classic mini also the policemans outfit style is in relevance to the time period. I also added a tad of colour to this one just to make it pop a bit more than a basic different grey tone.


The purpose behind these concepts were not only to get ideas for the blocking volumes for the grey block, it was to up my skills in photoshop. Personally i know that my photoshop skills were not up to scratch purely because it was an alien program to me that i only briefly went into with the adaptation year 1 project, so with being on the blocking out team i didnt really have any involvement in the concepts side of stuff originally but personal drive wanted me to move into the concept side of thinks due to my creative thinking behind the ideas. So i did both not neglecting the block out though, phillip decided to take full focus on it with the measurements we had gathered over the weekend whilst i worked with the concept guys and also went into the research team reading “memories of hull” book which had been ignored when taken out from the library 2 weeks ago by the research team. Then when we returned to uni on monday i continues to finish the block out with phil gathering further measurements of the alleyways we had missed, then moving onto adding basic colour schemed bsp (basic standard primitives) to fill out the level with the blocking concepts in basic form.

here is a video myself and phil did to outline what had been done by us over the last week and what our ideas are going forward with the block out:

We apologise for the poor videoing method through my phone but we didnt have screen video capture software at this time so this was the first method we had to hand at the time. We outline issues we came up with along the process of the blocking out such as the FOV (field of view) not feeling right with the street size and the scale having to measure out all week with a meter wheel due to the map we had not being accurate enough to made a block out from. Our ideas going forward was a day cycle so having 2 alternate settings day/night so have triggered lighting of streetlamps to show nightlife as well as daytime. The rest is in the video i dont need to elaborate as we covered it fairly well. I clocked around 50hours over the last week on client work with working on the block out and all the other areas aswell. Everyone has now been allocated buildings my buildings are Marks and Spencers and what currently is Crawshaws, over reading week we have set a target of a basic model to scale and snapped to grid of your buildings with possible texture considerations, so nothing overnight and too much as of yet but a test to see if work is done.

I have now set up us a work in progress online presence for our client project:


Youtube – Heritage Hull

Twitter – @heritagehull60s

Facebook Page-

so give us a like, a tweet or an email if you have any email in related to hull in the 1960s or the 1960s in general like fashion or transport etc.

Keep an eye out for us on Thursday 30th october as we are on the radio promoting our project!

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Adaptation Evaluation


What aspects of the process – artistically or technically – prompted the greatest satisfaction and why?

In this process my greatest satisfaction was finishing my final concept art piece, due to this being the piece i left until last and worked the hardest of the level of satisfacion was much more than the rest of the work. Also the concpet art was done in Photoshop, i have been trying to increase my skills in Photoshop across the year and especially recently over the easter whilst making final touches on work so having a piece come out as nicely as i felt it did was very satisfying. finalI used textures for the floor, stadium and sky aswell as hand painttextures for extra detail or shading so it was a real bonus when done. i also enjoyed the write up of my story enjoying literature at A-level played its part there.




What aspects of the process – artistically or technically – posed problems or difficulties, and how were they resolved?

For adaptation id say that again the concept art was the hardest i had layering issues to begin with when applying textures and making sure i had multiplied one layer to overlay another to get the effect i wanted required alot of tweaking and experimenting, it wasnt just a paint and done project it took alot of time and really testing my artist eye for detail and colour. Other aspects would have been the storyboard, i am unfamilar with storyboarding and have not personally drawn them alot so this was a difficult task for me as a storyboard should speak for itself and trying to make mine portray that was harder than expected. I resolved the storyboard issue by researching into storyboarding gathering references to see how a fight scene (my focus) would be storyboarded, this helped alot and my final storyboard was a good one. Storyboard






As a consequence of thinking about these former questions, what can be identified as the core strengths and weaknesses of the approach to and execution of the project?

Well my strengths in this prject was definately the visuals and ideas i was generating, the thought process behind it and level of research really put me on the front foot to begin with acting as a platform for the rest. Then by tackling each part one by one i felt i got work out of the way instead of half done then moving onto the latest one given instead it was done then i progressed. And finally the time and effort put into the concept art piece was pleasing especially with the outcome. Weaknesses would be that i didnt digitalise alot of my work which would have been better in some cases, for example the character design sheet in multiple views would have been great done in photoshop aswell as the storyboard. So my approach to moving my artistic drawings into digital work wasnt as good as it should have been as the concept piece was the only one and looked the best by far.
What are the key strengths and weaknesses of the final outcome of the project? What aspects have been successful and why? If it was possible to change something, what would it be and why? The strengths was my final concept piece, also the drawings i did for props, environments and characters i felt was very strong. Weaknesses would be not enough digitalised versions of those drawings limiting my range of work in some areas to just sketches. The successful aspect of the project was how i tackled it one by one not moving on until i have finished the previous one and then later i added to previous ones when i had the time e.g. props i did helmets orignally then i moved onto characters but came back to armor,gauntlets and boots. If i was to change anything about my work it would be that i would have given myself more allocated time for digitalising all my adaptation work to show before and afters from drawings to digital currently i can only do that for the concept piece.

What set of “recommendations” can be drawn from evaluating the project, which will be useful on another occasion? i would recommend myself to be more experiemental and not avoid using programs i may not be used to, when i did adaptation photoshop was fairly new to me so a digital version of most things was something i put off when i did my concept later on i had gained skills in photoshop from my tutors in lectures so that showed alot of progress but i never went back to do the others. other than that i felt i tackled the brief well.



Identity- Design Part 3

Previous work: blog 1, blog 2, blog 3, blog 4.

As explained in the last part of this project i was moving onto the design process of a logo for both black rose and rusty tank being undecided on which to choose. Using different typography, style, and size to try fine tune what i want my ident to look like.

Here is what i got for Black Rose:

Black RoseThese are some of the designs that i came up with as you can see i followed the path of an elegant look to the black rose to complement the beauty of a real rose. My favourites were the bottom left with the inverted text font and rose stencil and then the two in the top left with the elegant flow to the font, I particularly liked the rose joined onto the end so i tried to implement that in other designs.

Moving onto Rusty Tank:

Scan 36These designs i was really pleased with the army stencil path focus was particularly a favourite of me and my peers, i tried to implement army military related themes to the ident with the actual rusty tank drawing but specially the army star for the letter A which was a nice feature.

After this i took both into Photoshop to have a digital version of them so i would be able to import into adobe after effects when eventually making the ident.

ident photoshop




Here is my black rose final ident digitally, i am pleased with it as it has met my original objectives of being elegant and representing a roses beauty with various features from different ident designs.

rusty tank ident photoshop




This was my rusty tank ident, it came out exactly how i wanted implemented stencil font with the army star for the A but with a rusted eroded edge effect added to it around the edge, i then also added a filter->noise->dust & speckles to add extra speckles to the font to enhance the dirty rusty image. Deciding im going to go down the route of Rusty tank I wanted to develop further on the logo so i placed a rusted metal texture into Photoshop put it over the top of the ident turned down the opacity to show the rust texture over the top then used the background eraser and magic wand to remove the rust texture everywhere but the text. this was the result:

rusty tank ident photoshop added rust










I also added a branded style box around the font to try implicate that this ident might be indented or embossed onto a vehicle, then rotated it to a slight angle and added a painted shadow to the left of the font. This was my final ident for rusty tank, now to storyboard the ident before i put it into after effects.

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Speed Drawing session

In this lesson lead by our tutor Paul we all played a game he had made himself with involves a randomly generated task of drawing the described item on the screen in the allotted time followed by another, each had a specific time limit so therefore the longer you had the more difficult the drawing was. Examples would be draw a sphere and a cone in 5seconds, or harder would be draw a weapons crate in 30seconds. As i said these were randomly generated and we had to draw as quick as we could as accurately as possible to test our skills. The purpose of the task was to get us to not think so much about the detail final product of a drawing and to just get the quick basics or rough versions down as quickly as possible from memory, being something i did struggle with i thought this would be a very effective task on improving my personal skills in memory drawing im good when its in front of me but memory is not as good. As well as drawing from memory we had to draw in pen so there was no temptation to erase any work, as we are told erasing work is erasing progress as there is no right or wrong drawing its all progress.

Here is my results:

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To start with we had 15seconds to draw basic primitive shapes such as a Taurus, cube, sphere etc. As we moved along it got harder like a bike or a shed in perspective with the same time slot really pushing the basic forms of shapes to portray the image. It moved up to 30seconds giving us drawings like messy bunk beds, weapons crate or a camera taking a picture of another object the extended time slot gave us more time to detail but the focus was to get the prime object across then to add detail roughly not a hard line finished copy just a sketch. Finally 45seconds was given for examples on page 3 like a skip full of doors, a dinosaur drinking tea or a open fridge full of food.

This was the first time around and i really found it useful everyone really enjoyed drawing. So will Paul fine tuning the app and uploading the beta to his website i decided to have another 2 goes using the settings supplied to at 30minutes a piece.

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This was try 2 with was on random times with random difficulties.

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Then third time around which was set to all 30seconds hard difficulty to really test how much better i might have got. Some drawings i did i was really surprised at what i came out with, especially the flying car which looked like a inspector gadget classic mini. Overall this process was extremely useful to my personal skills as i improved my basic primitives, to get it down first then add detail, drawing in bed made me realise mistakes are good as they show progress, and then overall drawing from memory was better towards the end.

If you would like to take this task to test your drawing skills go to the app on my tutors website here.

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Creative Futures – Production Design for Entertainment Media – Architecture

Architecture is a key part of daily life all the building around you involve architecture and have there own time period of architecture, this also applies for gaming so when you design a proposal for a 2 story victorian house you have to go into research to find out what a victorian house could have styles of if you just texture it with any random brick it wont have the realism also it wont match what you proposed to do and is basically something completely different. this session was designed to make us realise that architecture can is a key point in our designing in current and future projects, knowing the difference between certain era’s of architecture similar or not could be vital in for example a game set in japan and you design all the buildings with chinese architecture thats game over right there straight away.

First we was given a extract from H.P Lovecraft:

“a coast-line of mingled mud, ooze, and weedy Cyclopean masonry which can be nothing less the tangible substance of earth’s supreme terror — the nightmare corpse-city of R’lyeh …loathsomely redolent of spheres and dimensions apart from ours“.

“…hidden in green slimy vaults… In his house at R’lyeh, dead Cthulhu waits dreaming.”

– H.P. Lovecraft, The Call of Cthulu and Other Weird Stories

Many creatives have read that phrase and been inspired to try to pin down the look and structure of Lovecraft’s monstrous vision. The city has a different design to it, there is little amount of paralell lines everything looks very curved and warped with many strange alien looking symbols across its surfaces.

But what if you was designing something completely different a scrapyard on a graveyard planet? a steampunk themed victorian city hall? a apocolyptic supermarket? how would you go about figuring our the architecture for these ideas you have in your head? you would need the references for many different types of history in architecture aswell as architects. Well i wouldnt know much other than main parts of history. Due to this he listed some different architecural styles:

“Historical Architectural Stylesand some of the differences.

Roman vs Egyptian

Viking Vs Medieval Vs Tudor

Art Deco Vs Art Nouveau – Art Deco, geometric shapes and patterns, parallel lines… Seen in US gas stations, diners, cinemas and sky-scrapers… Art Nouveau, organic flowing lines, motifs from living things and natural forms… Seen in Paris Subway lights by Hector Guimard, and posters by Alphonse Mucha… whose work you can compare to the very Art Deco designs of Cassandre and other Art Deco Graphic Designers.

Russian Vs ArabicArabic onion shaped Domes and Cupolas might not be as common a cultural identifier as you would imagine, Victorian illustrators of the Arabian Nights and early production designers for theatre and film (along with Disney) have probably created a false image, Arabic domes being somewhat less ostentatious for the most part… whilst over the steppes in the former Soviet states the Classic Onion Shape is clearly visible…

Also the use of “Images” of living things is forbidden in much architecture in the Arabic world, decoration takes the form of elaborations of writing and scripts…

Japanese Vs Chinese – consider the use of decoration below and between the roof-lines, one is predominantly simpler than the other…” – Gareth Sleightholme architecture blog

we was then given examples of architects to see all of this lesson see Gareths blog, this lesson made us realise the importance of accuracy in our research as well as the need to broaden our knowledge of certain people in the fields of research and work we will be coming across. Another learning objective was that of the importance of observational drawing, recently for our street project we was told to go draw buildings we liked from observation and until we did that we wasnt allowed to progress, the reason behind this was for us to look, sound strange but actually looking and paying attention to the details of architecture and features on a building are often neglected so observational drawing will help us in our designs.

We then went into who would need to know this? well to be subject specific to my area of study Games designers would, so 3d artists, texture artists, environment artists, 3d modellers, concept artists and so on theres no doubt accuracy of the environment around you in a game which you have told the customer the specifications of the time period set makes the game way more immersive and realistic, for example Assassins Creed 2 its set in 15th century florence and modern day with the use of the animus if they had left both time periods in the same architecture style of modern you wouldnt believe the story as its said to be based on historical events but not looking historical.