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meganpdpyr2 · 8 years ago

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3Es- Confidently negociating for success

Overview:

• The successful negotiator

• Never assume your value or worth

• Making negotiations a conscious action

• You can’t kick the emotion out of negotiation

• Communication in negotiation

• Planning for a negotiation

Before you can begin:

Be clear about:

• What do you want to achieve?

• Why am I doing this?

• How will I go about this?

• Is there a sequence I need to follow?

• What are my priorities?

• What resources do I have available to me?

• What are you worth?

Bartering for goods and services

• Access to a wider network?

• Access to a new network?

• Free exposure at an art gallery?

• Recommendations and reviews?

• Free publicity and marketing?

• Social media coverage?

• Sponsorship?

• Partnerships?

Emotions play a big part in negotiations

Five key steps to Emotional Intelligence

Self-awareness

Self-management

Motivation

Empathy

Handling relationships

Silencing the Inner Critic!

Communication is big in negotiation and influencing

2. Assertiveness

3. Body Language 4. Listening 5. Questioning

The way you say it 0r putting music to your words

• Complete the Emotional Intelligence Self-Assessment and plot your scores on the graph on the back page.

- Warmth and anxiety are my top areas.

81% Warmth, 75% Anxiety.

69% imagination

How does this benefit me?

This is very important when looking at how I present myself and how I am perceived by others. I am currently fairly confident when I know exactly what I am talking about but when put under pressure I do lapse. As my graph shows the 75% anxiety tends to take over, but my general warmth makes it easy for others to approach me and talk to me? I can smile for miles and I’ve found that is very helpful, and will be brilliant with potential clients etc.

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meganpdpyr2 · 8 years ago

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3Es - Wonga

Wonga managing:

1. The 3 Fs

This is a rather unkind name used by the business community to describe getting financial support from your nearest and dearest: “friends, families and fools”. In exchange for a share in your company or some of its products and services, you could go to people you know well for a loan or even a gift. But beware of letting this new, financial part of your relationship sour the rest of it. Be very professional, even if it’s the Bank of Aunt Daphne, and draw up an agreement that you can stick to, an agreement over the interest rate – if there is one – and the length of time you have to pay back the money, etc. One of the most fundamental and bleedingly obvious lessons I’ve learned is that when you are dealing with a trusting situation, where a lot of goodwill is taken for granted, you need to get everything in writing. It doesn’t have to be complex or legal, just factual.

2. Bank loans

Despite (or perhaps because of) the recent bad press around banks and their post-recession reluctance to lend to small businesses, there are some who will and who have introduced new small business initiatives in an attempt to improve their image

Before they even consider lending you money, the three main things they will be looking out for are:

· Will you be able to pay them back? They will want to see a sound business plan, one that demonstrates a thorough understanding of your markets, confirms your experience and skills in the field, and evidences a cashflow capable of managing the repayments.

· Are you the sort of responsible person they can rely on? Do you have a good credit history?

· If you can’t repay them for some reason, do you have assets that the bank can acquire and sell? One aspect of this is matching the life of the asset you want the loan for with the form of financing. Another is that the asset must be able to produce revenues or savings sufficient to cover the financing costs.

There is some excellent advice on attracting bank finance to be had from Enterprise Nation and Bibi Martin. Check them out on www.enterprisenation.com.

3. Short-term loans

It’s now possible to get short term loans from new organisations such as Liberis and iwoca, set up specifically to support small businesses. With Liberis you pay back only as you earn through a levy on your customers’ card transactions and there are therefore no fixed monthly payments. iwoca offer revolving credit facilities. Make sure you read all the small print before you commit! This arrangement may not be for everyone!

4. Crowdfunding

This has recently taken off as a popular way for businesses to raise funds. You post a pitch on your website and people contribute towards your target amount. Crowdfunding is broadly divided into two types: equity and reward. With equity, investors get a piece of your business – websites to check are Crowdcube and Seedrs. With reward crowdfunding, investors receive some form of non-financial reward such as a print or small artwork related to the funded project. Sometimes the reward is simply being involved with a worthwhile cause. Platforms to check out are Kickstarter, Indiegogo and Crowdfunder. Indiegogo claim there was a 700% rise in UK start-up projects using their platform in 2015. However, as crowdfunding becomes more commonplace, you will need to stand out, to tell a brilliant story and to build real excitement around your brand.

5. Dragons, VCs and Angels

BBC 2’s series Dragons Den gives pitchers 3 minutes to convince potential investors with – literally – piles of cash at their fingertips. In reality, it’s not that straightforward but there are people out there – venture capitalists and angels – who will invest in your business if you can convince them that they’ll get a good ROI (return on investment). Venture capitalists generally prefer to invest in something that’s already quite well advanced in its development, tend to look for investments of over £1million and will probably want a seat on your Board (could be a good thing as they bring loads of experience and business nous, but not so good if they try to influence business decisions based only on their interest). Angels usually invest less - £10,000 to £200,000 unless they work as a group and invest more collectively – and are prepared to invest in early stage businesses.

With either VCs or Angels, approach them with the right frame of mind: don’t go, cap in hand and needy, asking for money; rather, offer them an opportunity to participate in an extraordinarily exciting project or business. Tell them you are looking for exactly the right partner/investor and this may not be for them

If you want to explore the investment route, it might be worth checking out the government’s Seed Enterprise Investment Scheme (SEIS). If you can get the Scheme’s approval for it for your company, your investors may be able to claim a 50% tax refund, with a maximum annual investment of £100,000.

6. Other companies

With support from the British Government, it is now possible to get loans from other businesses. This is called “peer to business” lending or “peer to peer” lending. Its proponents argue that it’s often quicker and simpler than going for a bank loan. In 2013 £193million was loaned to business in this way, 203% up on 2011. Essentially, existing businesses lend to other businesses and get paid interest.

There is a Peer-to-Peer Finance Association and the principle platforms include:

· Assetz Capital

· Funding Circle

· Funding Knight

· Ratesetter

· Rebuildingsociety

· ThinCats

· Zopa

7. Community cash and grants for social enterprises

, there are numerous sources of funding, through government or Lottery-backed initiatives or from private Grant Giving Trusts. Most well organised sources of grant money will have clear, helpful websites setting out what they will and won’t fund. Read them. Thoroughly! Ignoring the guidelines and funding criteria wastes everyone’s time

8. Government support

If you’re over 18, based in the UK and have been trading for less than 2 years you might be able to borrow up to £25,000 @ 6% from Start Up Loans, a government-funded programme with millions available to small companies

9. Accelerators & Incubators

Most accelerators and incubators – and there are lots of them around – offer physical space but some also offer finance, usually in return for an equity stake in your business. Some also offer mentoring and other support. Some examples: Entrepreneurial Spark and Microsoft Ventures support many different kinds of business, some are more niched; for example Truestart supports retail, consumer and fashion start-ups, while Accelerator Academy works with digital entrepreneurs. For a good list of who’s supporting what, go to www.entrepreneurshandbook.co.uk/business-accelerators/

10. Awards and Competitions

Not the most reliable way of raising cash and can be uncertain – and therefore potentially time-consuming – in a rapidly moving world. But every now and then a particular award will be announced and if you have the time to wait for the outcome and it’s right up your professional alley, it might be worth going for it. Awards are good for boosting confidence, for raising staff morale and they look great on your website.

How this helps me?

I feel this is more of a back up plan. Its always safe to have one. If I don’t get into the industry its helpful to have the knowledge on how to get money for setting up an indie company.

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meganpdpyr2 · 8 years ago

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3Es - SO, HOW MUCH DO YOU THINK YOU’RE WORTH?

A BRIEF LOOK AT PRICING, RECORD KEEPING, CASHFLOW FORECASTING, CROWD-FUNDING, GRANTS & COMPETITIONS

“What’s your day rate?” – General question asked but hard to answer

What to charge: a reasonable formula

Answer with confidence but being reasonable.

The basic premise is that you only charge at a rate which is based on what you actually need. What you need in order to keep yourself in the best condition to provide the service the client is buying. If you are not being greedy, then when you quote a rate you can do it with complete confidence. You know it’s fair. So you don’t need to say “Would it be alright if I charged you £Y?” in a voice full of hesitancy and doubt.

Instead, you can say: “My rate will be £X” in a very matter-of-fact voice, as if it is as normal as buying a newspaper. Your client won’t be impressed or reassured by the first way; he or she will be by the second.

The formula consists of an aggregate of three elements:

1. what the market will stand,

2. the perceived value of your service or product and

3. your income needs.

1. What the market will stand depends on what people are used to paying. If there is a recognised rate for the job there is not much you can do to change it. But you should do all you can to find out what it is, what others are getting paid and what they are doing for the money. Or not doing. It's possible that your service is subtly different from theirs or that you are offering added value in some tangible way.

2. Perceived value

“My charity rate is £400/day + VAT”, they may well be shocked and decide to drop the transaction. They are probably operating in a poverty consciousness, an attitude that often leads to burn out, resentment and breakdown.

The next day, say, I go along to see the CEO of some large organisation, with a car park full of expensive mobile toys, and we agree to do some work together. He then says “Incidentally Max, what’s your day rate?” If I say £400 + VAT” he will immediately shake my hand too firmly, show me to the door and I won’t hear from him again. He cannot conceive of how I can do the work for that money. He’s used to paying £1,000, £1,800, even £3,000 a day to his consultants. At a mere £400 I can’t be any good at all, he thinks.

3. The third element, your needs,

So here goes: your projected monthly income target and day rate calculation

A. First, you'll need to compile a detailed list of your financial needs, based on a good life-style, the costs of running your business and – sadly – tax and National Insurance

i) your personal outgoings per month £/month

- mortgage/rent £........

- council tax £........

- gas, electricity, water etc £........

- telephones, IT £........

- food £........

- travel (car etc) £........

- childcare £........

- clothes £........

- insurances £........

- pensions/PEPs/ISAs £........

- holidays £........

- leisure/fun - remember! £........

- savings for that special something £........

- other costs .............................................. £........

.............................................. £........

total personal outgoings £........

ii) the costs of running your business (week or month - delete one) £week/month

- rental and business rates (if applicable) £........

- insurance £........

- telephony/IT £…….

- subscriptions to professional magazines etc £........

- attendance at conferences, seminars, courses etc £........

- on-going training £........

- printing, literature, photocopying etc £........

- other running costs .................................... £........

- accountant's fees £........

- advertisements £........

- loan repayments £........

- emergency fund savings (suggest 5% of income) £........

- other costs ............................................. £........

............................................. £........

total business costs £........

iii) allowance for tax and National Insurance – a rough

guide will be 20% of your personal outgoings £........

iv) total outgoings (i + ii + iii) £........

B. Calculate the income your business will need to generate in order to cover your costs and leave some margin for a 'sunny' day, based on the total costs above

C. Try to work out how much time you will need to do the business. And allow enough time for simply running and administrating the businesses

So, if you’ve decided to go for a 4 day “doing” and 1 day “managing” week, you can work out what you need to make every day, as follows:

- what you need to earn = £........./month

- say you have 16 "doing" days per month (4 weeks times 4 days a week)

- divide what you need to earn by 16 and that is your day rate.

D. Now collect the three sums together from “what the market will stand”, “perceived value” and “what you need” and work out the average: add together:

Element one: what the market will stand: £……/day

Element two: perceived value: £……/day

Element three: what you need: £……/day

£……/day

Divide the total by three = £……/day

Negotiations?

And of course, sometimes it’s necessary to negotiate; perhaps there’s a client you really want on your project list; maybe you could help the person asking for a discount, knowing they really need it; perhaps there’s a good deal to be done, some mutual back-scratching. Whatever the situation, the rule is that you must be in charge of the negotiation; don’t be pushed onto your backfoot

Experimenting

Every client relationship will be different, every project unique. So be flexible with your charging. Remember “perceived value” and the culture and expectations your client is holding, and adjust accordingly. You can charge differently for different clients and projects. Find out through experimenting what works, what people are happy with, what is too high – or too low – for them.

So, what are you worth now?

Maybe first ponder a little on your relationship with money. How do you experience it? As an asset, as a burden, as something always somehow out of reach, or a symbol of your unique abilities, a token of a time when you did something that was appreciated and honoured, energy invested? Consider too what you would do if you had no money and, conversely, masses of it. Is money the goal or a means? And, then, a means to what?

How it helps me?

This would be ideal if I planned to go freelance, and also helps me if I wanted to run my own business. I do have a few smaller clients for freelance illustration so having this on the side is very useful too me., i can look over my finances and see what I SHOULD be charging in the future...

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meganpdpyr2 · 8 years ago

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3Es - Ip aware – protect your creativity!

What is intellectual property?

Why do you have trade marks?

Helps people to identify your brand

Marks you out from the competition

Can add value to your product

Getting a Trade mark:

Get to know the IPO:

the Intellectual Property Office handles applications for trade marks

Their website has all the background information you need: www.gov.uk/ipo

Registered trade marks

Different businesses can use the same mark such as Penguin Books & Penguin Chocolate

Patents:

Protect how something works or how it is made

Must be new

Must not be obvious

Must have a useful application

Better or Cheaper or Different

In the UK you cannot Patent:

Business concepts or procedures

Scientific laws or discoveries

Problem-solving methods or ways of displaying information

Rules for games

Computer software

Animal or plant breeds/varieties

Medical procedures (but drugs, surgical instruments etc can be patented in themselves)

Getting a patent:

Granted by a country or by a group of countries (eg European Patent Office)

Can be bought, sold or licensed

Do not last forever – 20 years standard

In the UK you apply for a patent to the Intellectual Property Office ( www.gov.uk/ipo )

Cost of a UK patent starts from £230 + extras (eg. Patent attorneys, renewal fees etc)

Can take up to 4 years from application to grant

Registered designs:

Distinctive look of object or item

Must be new

Must be unique

Designs are concerned with appearance only – two or three dimensional i.e. lines, Contours, colours, shape, texture, materials of the product or its ornamentation.

Are country or region specific

In the UK are registered with the IPO

Can be bought, sold or licensed

Do not last forever – 25 years standard

Cost of a UK Design starts from £60

Renewed every 5 years

Unregistered design rights:

An automatic right, like copyright

Lasts for 15 years

This drops to 10 years after sales start

Strongest protection is the first five years

More difficult to prove than registered form

Books, reports, manuals, databases , Engineering, technical or architectural plans. Paintings, sculptures, photographs. Music, songs, plays, dramatic works,Promotional literature, advertising, Films, videos, cable or radio broadcasts and Computer software

Who owns copyright?

Usually the first creator or author…or their employer if produced as part of their job

However, a contractor will retain ownership unless their contract states otherwise

Even if the creator sells their rights, they have “moral rights” over how the work is used

Creative Commons is a framework providing written licences

explaining the terms of use of a piece of copyright work.https://creativecommons.org/

find out more here:

www.gov.uk/ipo

www.plymouth.gov.uk/plymouthpatlib

How does this benefit me?

I can own the rights and do own the rights to all my personal work. I may have drawn say fan art but the ownership would belong to the original artist.

My private work where I have designed the idea is mine. If I wanted to use music in my games or assets I would need to get licenses so I am not stealing from the original creator.

This is very important, especially in a creative industry. Its very easy to have work stolen and it is a wise idea for me to water mark work so its harder to do so.

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meganpdpyr2 · 8 years ago

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3Es Your Brand - Making a Statement

Value Proposition:

Who you help and how?

What problem you solve

What experience you enhance?

Why should anyone care enough to invest time/money/attention to you and your work?

5Ws

Who I am

What I do (and what i sell)

Where I do it

When I do it

Why i do it

Start by saying something different or a verbal slap – something really ‘you’.

State a problem or solution you meet such as:

I help/teach/enable ___(ideal customer) to ___ (amazing thing you do) so they can ____ (the benefit of them).

1. Who you help and how;

What problem you solve?

What experience you enhance?

2. Why should anyone care enough to

invest time/money/ attention to you and your work?

How does this help me?

Looking at where I want to go in the future, this will really help me when I write out cover letters, personal statements and even brand any freelance work I do. If i am trying to sell myself and my work, wording is crucial. I want a client to know I can draw environments and characters, or model assets.

I can put this into practice when writing information on my art station page, this is like one bit job advertisement.

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meganpdpyr2 · 8 years ago

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PDP - Fantastic beasts and how to create them - Christian manz- frame store

Notes from talk

Runner to creative director

Runner to texture artist,

Was practicing at the weekend but moved to lead compositor

Lead compositor and comp supervisor

Vfx supervisor for tv to then film to universal

Creative director

Talking about the creative process .

Working in modo then put into maya

Post it notes!!!!!!

Showing attitude in character sketches

The talk then went onto how they 3D printed the characters, made puppets and other transmedia things to film. Prefixes were made to display ideas for basic concepts like how you get into the case etc. It all gets textured etc by other but the concept artists having made 3D models really helped speed up the process of production.

How it will help me?

The talk was very insightful into the concept art industry and just learning how the creative process works. They mentioned software I can look into over summer for PDP (Mari and Maya) should I be interested in going into the film industry as well as the gaming one.

They showed that many freehand artists can be used for big projects and showing attitude in character sketches will be really beneficial. i am going to start using sticky notes and changing how I draw characters in the future from this talk.

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meganpdpyr2 · 8 years ago

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PDP - Post it Note Concepts!

Following my recent trip to FMX, and my attendance to the concept art talks, i decided it would be a good idea to see how it is to work on post it notes, considering all the big industrial film companies do so too.

I am currently thinking up ideas for what I want to do for next year, so decided to draw landscapes.

Another reason for this is because the companies I spoke too mentioned that environmental artists are in demand, character and clothing designers are everywhere. So I am going to focus on this!

I gave myself one minute on each, these are on landscape post it notes and drawn with a sharpie pen.

I plan to keep this up through summer, these are so quick and I can really find ones I like and develop them digitally.

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meganpdpyr2 · 8 years ago

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PDP - FMX - Visual development of warner bros edge of tomorrow and suicide squad - Oliver scholl, production designer

Notes Made:

Book covers were his inspiration

Perry rhodan

Two different types of concept art

Story related or driven concept art , key frames

Object related Celtic art, set, character, environment and asset design

Sometimes bad to have good concept art if the concept is bad

Stargate before computer . He water coloured them.

Also ink and markers

Big difference for post and pre production, also different if working for art department or in a cgi visual effects company.

Tries to evoke mood.

Jumper, suicide squads Godzilla, time machine, spider man,

Even if not used they are still key, it's a process. If you want to get to a goal you need to walk there.

How this benefited me?

Although this talk wasn’t as informative as some of the others due to time constraints it was still really helpful. They spoke about evoking mood in your art, showing examples of concept art and how they told a story. I know I need to lead the eye to a point and try to tell a story within it. An Attention to detail will be ideal when I next make concept art. I am going to try a few sketches.

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meganpdpyr2 · 8 years ago

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PDP - FMX - Star Wars, the art of rogue one and the for awakens, Christian alzmann, industrial light and magic

Notes made:

The stages:

Concept art direction

Pre production design

Post production design#

Story Boarding

Character design

Environments

Hard surface design

The blue sky stage

Pencil on post it notes

what could it be

If you can't get it in a sketch then keep sketching

Star Wars is about simple shapes

Character design : "you're not an artist Becky, you solve problems" an concept artist role truly.

Patience - Concept art is a process

Find the cliches. And maybe a cool spin. You want the design to read

I post products it's great to use 3D

Environments

Ralf mccory

Early stabs in the dark

Hard surface:

He was looking at character archetypes for bb8

Post production is all about the shot

A lot of work in post production is not designed do you have too. Patience is key

The box gets very small in post production. It's a lot harder to design but can be very rewarding.

Get used to the idea that you will never do anything once

Helpful to have 3D skills.

Reference sheets are put together, especially for buildings, it's getting a narrow focus.

Paint overs are very big in post production

After hours work. The greenest grass.

They will hire you for what you bring to the table. So the work you do after hours. You don't really stop working..

he always likes to illustrate a story in his images so narrative.

Be nice and make time for everyone you meet in his business.

How much time 2D and 3D take

Always sketches first, probably eighty perfect 3d and rendering over in photoshop.

If creature then zbrush. Modo for hard surface etc and other

How this talk helped me?

This talk was really insightful, you got to see tonnes of art work, from assets, characters to environments and ships. They stated how knowing 3D was ideal for concept artists as they could bring their art to life, and a lot of the time these ideas are actually put into the final product. They mentioned if you don’t put in the hours you may not meet expectations and this is even before they hire you. Mari., Modo and zbrush for sculpting and texturing, modo for hard surface, these are all worth learning according to ILM. I am considering focusing more on environments now after this talk and speaking to them in person afterwards. They said that there are tonnes of character artists, but not so many environment artists.

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meganpdpyr2 · 8 years ago

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PDP - Back to basics - Patrick haneberger - FMX Talk ( Animal Logic and Neuland) - Talk on Concept art

Notes Collected:

Animal logic - lego movie sequel - they are hiring in Vancouver and Sydney

Childhood is driving his career

Concept art for movies, - the art of star wars started him f f

Art centre college of design

Got to do an internship in Pixar texturing and modelling

1- letting his childhood drive his career.

Started with toys rising up - transmediaism - have a character, watch it, play with it, read it. That is what transmedia is,

Commodore 64 was the start of graphics

Immersive words, escapism.

Hypervalley is a side project he is working on.

Patrick's history of concept sty

1920s dan sayre grosbeck - destined for Hollywood

1927 - fritz Lang - metropolis

1938 - buick y job - car

1950s - Mary blair- utopia - highly referenced

1970s - syd mead inc

1980s - roger dean - games and album art

1990s- Craig mullins - guy that laid the masses out to digital art

2000s - Scott Robertson - starting to get education in concept art - design studio

2010s - social media has opened the world to art and concept art and influence

Focusing concept art on fundamentals of drawing and not technology

Depth: it's the key to creating immersion.

Another example

Shapes:

Shapes can change the composition

Tones: tones are the mood

Guide the eye

Narrative - use tools to emphasis story

The duel The conversation.

It will be good to see these sorts of images in your portfolio for an inspiring concept artist

Focus on the idea before the execution:

Experience - thought - experience - thought - experience etc etc

How he develops ideas

All the thoughts and experiences are all pulled together to create an idea.

The idea:

People like to kill ideas - the hardest part is to stay true to it

Idea - the swamp of despair !!!!

Be open to new ideas and collaborate but hold onto the idea!

Stress is bad for ideas but great for getting stuff done. Separate these three things to do better work

Idea + image = concept art

How does he develop ideas when burnt out:

Exercise to bring your brain to life - science yo. Pump fresh blood to brain - it acts as a reset switch

Travel - he encourages artists to get a holiday and travel. Go places you have never been before. It leaves a powerful imprint on your t

Brain and talk to strangers!

Document:

He writes down things that happen to him. It lets him record experiences.better than taking a photo

Brain inventory - senses input

10 - output hands

Socialise: brainstorm, with others. Creative flow! Happy hour is great!

Coffee (or absinth ;) )

The Age of Enlightenment

Production design and concept art

Script - story -

Story - design and build - shot production used to be a long time line but now it all happens at once

Story

Design

Shot production

10 tips:

Re study foundation - drawing is everything

Study history

Go see the world

Read

Collaborate

Document

Take risks

Be nice to people they make your life

Draw what makes you happy not what's cool

Make your work a calling, something that makes you happy

Put in the hours, practice and get the muscle memory

Carry a sketchbook with you

More tips!

Cover your basics for a big studio

His favorite places to travel: the alps, Bavaria (south Germany), India, places full of nature

Story board - speed and rough designs

Visual effects takes the time

Portfolio has the range - ideas then present but rendering is one of the skills you need to have so have finished ideas and Sketches

wants 10 ideas in an hour rather than 1 idea in 10 hours he then drops final to one of his artists to paint up

Most of his concept artists came in from different directions. If you want to work for a studio get into the studio but if art is your life then stick to it. You will be a better artist that way.

Collaboration is getting used to working in an idea that isn't yours or someone taking your idea and take it further

Leave ego at the door

Talk to peers for ideas even if it hurts. It's the only way you can grow!!!

What can I take away from this talk?

The 10 tips for concept art really are an eye opener and I will try to follow those as much as possible, but the main aspect I am taking away for following in a concept art path is the post it note art. He said they’d like 10 ideas in an hour rather than one in 10 hours. The talk was very honest and down to earth and a real change to see. I spoke to Peter in the recruitment hall afterwards and he took a look at my art station. He said I needed more on there, more environment that tell a story, character art that show emotions rather than a T-pose. He did say he could tell we were from games from this.

I need to put the hours in and really strengthen my portfolio for next year. I need to leave my ego at the door and be more confident. Talking to peter was terrifying but I am glad I did it.

I was able to get a really good feel for how the movie/animation industry works with concept art and 3D too.

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meganpdpyr2 · 8 years ago

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PDP - Create, then paint: an intro to substance designer and substance painter - FMX - Nicholas wirrmann. Algorithmic

Notes collected:

Investing into film but also games. They are making changes.

Starting on substance designer

New packages, new graph, physically bade metallic roughness

You get basic nodes with outputs which are empty.

You will want to view outputs in 3D view.

Can go into environment and changed display component to change lighting

Metal Material uses uniform colours

Normal uses a different node called irmal , it has a input, it converts height map to normal map,

Flatness is uniform colour

Metallic has white, black I not m tally

Mesh one to normal map input to generate normal map, can up the res if blurry

Levels Between knew do normal map changes the shape of the lines

grunge map twelve to open graph, to see its own nodes.

You can generate variations using random seed.

Grunge to blend I with the rest needs to be inverted

Use blend node, out foreground as grunge, uniform as background, outputs roughness

Ambient occlusion based on height map, gets put on the height map which is mesh one in this case, and levels. This ambient wants to be inv t so levels is used on it and is blended with toughness as. A new blend node after the original

Curvature gives sharp mask. White is the converted part, black is converts part. To make smooth use curvature smooth. Levels again can be used to invert

If he wants to use this Ina new graph he can drop it into a new graph

Resolution changed under parent size

Wants to be able to tweek it Uniform colour on roughness will need tone exposed

Wants rust material to blend with new material. Always good to use references when using it

Noise is moisture noise.

Directional warp

Gives more organic mix up

Both nodes link to directional warp

Intensity can be changed on the side and the angle

Gradient map can be used to assign a colour value to it, ot links to output on directional warp

Pick gradient will let you go from your reference in another screen, by drawing over it.

Ad s'more gradient maps for new colours

Blend them by linking gradients to it

New blend to link.

Dirt noise can all be connected

Levels again to increase contrast of height map

Plug into output at this end to view in screen

Can convert to grey scale to use as map

Rust means metallic is black

Can drop new graph to map by dropping rust into it

To blend two materials use material blend and can choose what channels to blend

Clouds to make some noise, directional warp and draw that into a new levels

To put rust around shapes on metal use ambient occlusion, invert it using levels and add it to the noise with a blend

Histogram scans is a customized node to add slider to control the rust level

Save package

Publish to sbsar file

Substance painter

Visualize the channels using the C key

Layers can also. Change between channels. Usually it sits on base colour.

For his car he dragged the steel rough material in.

Can drag and drop material file into shelf

Can add levels to invert a mask and adjust contrast in painter too. A grunge map can also be used on a fill layer like the level. An also be inverter.

A multiply it in the stack.

Add generator, these ones such as dripping rust have their own parameters.

Metal edge wear is amazing for finding the edges of a model.

Can be inverted too for light edges rather than dark

Iray for rendering dependent on gpu

What can I take away from this?

Considering this was a work shop, a lot has been learned. I know how to approach Substance designer which maybe perfect for creating my own textures rather than relying on the ones within painter. They showed me how to use generators within substance and how to make my own smart materials which is actually something I used on my last model after FMX. Its already benefiting my work flow.

I just need to keep at it. It is pleasing to see it also being upgraded to be used in the film and animation industry as before they all use Mari.

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meganpdpyr2 · 8 years ago

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PDP - Impact of neuroscience and user experience on game design - FMX talk by Ceila Hodent - EPIC GAMES

Notes Collected:

It is the interaction and understanding of the product - use experience. Something you talk about with friends and how you perceive and intractable with it. Satisfaction and emotions, cognitive science and human factors. Hci, interactive design

Now the target user perceives and interacts with the game, including how engaging the experience is, relative to the designs intentions.

Designers mental model to system image to and from users mental model

(Donal normal, the design of everyday things 1988)

U.X and the brain:

Perception (input)

Info procession to memory (synaptic modification)

During info processing attention and emotion and motivation

Perception. Info is organised through a 3 level process example of vision.

Sensation - physics, orientation, spatial frequency, brightness

Perception: organisation of the visual field the train likes to make shoes

Cognition knowledge access to semantics,

This process can go either way ( no one sees it the same.)

Perception limitations - an be colour blind or not have the same knowledge of something

Limitations perception and reality

Listen to this how the bat cycle sound

What is it really? The Shepard tone

Shepard tone in super Mario 64

Play testing - make sure icons convey correct information as it's important

Perception : gestalt theory

Law of proximity

Objects that are near one another on space or time are perceived as belonging together

Law of similarity

Objects with similar attributes such as shape and brightness help us relate

Memory how it works

Sensory memory

Part of perception important of attention

Sight sound touch

Working memory

Short term easily disturbed requires heavy attentional resources

Long term memory

Potential unlimited in time and space

Limitations

Forgetting curve

(Ebbinghaus 1885)

Retention x time elapsed

Memory lapse or why we need a HUD

If you remove the HUD you are asking people to remember thing end remove themselves from the game

Application: reduce the memory load

Attention:

Change blindness.

Inattentional blindness

How it works

We do not carefully scNning all of our environments

Attention works like a spot light

Cognitive load theory

Paragon alpha: first min/ of play (play test)

Using eye tracking

Very hard to get players focus on elements that they need to Learn to get better of the game because they are looking at all the pretty things or enemies

Good Ux equals usability and engage ability

Usability

Making software usable means paying attention to human limits in perception, attention and memory

Usability

Signs and feedback

Clarity

Form follows function

Consistency

Minimum workload

Error prevention recovery

Flexibility

Signs and feed back draws payers attention to particular elements

Inviting signs that encourage player to do something like markers over nods you can talk too

Informative signs that infirm about a state such as hearts in hud or health in infamous two

Feedback

Every action from player must have some feedback such as trekker five foot impact goes red if hit

Animation is form of feedback

Form follows function

Accordance no need to learn

Avoid multi-stability

Stereo types to help identify function such as mail and camera icons

Icons that need to be learned such as game gentle and photos on iPhone

Similar form for two different functions such a music and iTunes Store

Decorating assets tray look like game play assets equals misleading form

Flexibility an accessibility

Chose a control scheme (tilt, touch, thumbstick, thus tick mirrored)

(Into the dead (pik Pok)

Gameaccessibilityguidelines.com

Motivation helps attention

Concept of number in Piaget task (using tokens) (5 years old thought bottom with four rather than top with five had more because it was longer)

Bs mehlers task using candies

Was more successful as attention was raised due to design change. Two years old got it right

Human motivation mapping attention got game Dec

Implicit motivated biological drives

Personality and individual needs

Environmental shaped motivation

Motivation tease and give purpose "why"

Emotion guides our behavior

Such as horror and fear

Emotion in game design

Game feel

Feels good to interact with 3c, control camera and character, presence,physical reality

Discovery novelty and surprise

From fortnight the piñata is fun

Game flow tutorials matter a lot more than you think

Cognitive bias codex 2016

@celia hodent

The gamers brain book - ceila hodent

Ceila hodent.com

Game ux summit

What can I take away from this?

This talk was heavy. I will not deny that, however it was extremely interesting to see how companies branch out to such subjects. After learning more about UI i feel more confident on how to approach it in the future and have recommended this book for the library so I can go back to it. Ceila’s powerpoint is also on her website so I can refer back to it.

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meganpdpyr2 · 8 years ago

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PDP - FMX - Talking to the industry!

Tips from the industry (trickster, frameworks, double negative, animal logic, axis, liga01 computer film etc), snday:

draw more (include sketches)

more environments than characters and costumes for places like animal logic as there is more demand

learn software like Mari for texturing and maya for 3D. Most visual effects places use these.

double negative had freelance options, you need to be versatile . Their freelance artist can more or less use whatever software they want if it fits in their pipeline.

frameworks has game artists that use unreal engine!

strong portfolio with lots of targeted work if going for a specific role

Be nice to everyone!

willingness to travel is good, travelling around is good for inspiration. Be brave.

If I wanted to get into movies vfx I could go in as a texture artist, texturing models and modelling, maybe concept art.

- concept art work needs different poses, expressions, clothes, props etc - environments are great if you go out and draw environments, sketches and paintings What can I do? After looking over Mari, going to a few talks by frameworks and industrial light and magic, I am going to try the free trial of Mari, and possibly look into modo. Many state they also use zbrush too, but I feel it maybe good to have these pieces of softer under my belt. The industry speakers mentioned many company's are using these, many concept artists are preferred to have 3D skills so they can prefab ideas, give studios in games and even film an idea of scale and how it may look. It will breath more life into the design.

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