1. Demonstrate a systematic and critical understanding of the games industry, informed by specialist research within the field, and apply this knowledge to enhance professional practice and innovation within the chosen specialism.

Knowledge and Understanding

2. Critically analyse and deconstruct the techniques and methodologies employed by professional artists within the games industry, demonstrating an advanced understanding of industry standards and the ability to apply these insights to enhance creative practice.

Analysis

3. Apply informed research to integrate esoteric and abstract techniques within design development, demonstrating originality, creativity, and advanced problem solving in the creation of innovative concept art solutions.

Application

4. Critically and objectively reflect on the development process of a project, evaluating its outcomes in relation to its intended use and purpose, while demonstrating the capacity for self-directed improvement and professional growth.

Reflection

Assessment Component 1 – Art Book (Portfolio with Annotation) [Learning outcomes: 1, 2, 3]

This assessment component requires students to produce an art book that serves as a portfolio of work demonstrating a systematic and critical understanding of the games industry, informed by specialist research within the field. The portfolio should highlight the application of this knowledge to enhance professional practice and innovation within the chosen specialism.

Students are expected to critically analyse and deconstruct the techniques and methodologies employed by professional artists within the games industry. The portfolio should include annotated studies and deconstructions of existing professional artwork, reflecting advanced analytical skills and adherence to industry standards.

The art book must also showcase the application of informed research to integrate esoteric and abstract techniques within design development, demonstrating originality, creativity, and advanced problem-solving in the creation of innovative concept art solutions. The expected length of the art book is approximately 40 pages, consisting primarily of visuals, with annotations where necessary to provide context and critical insight.

Assessment Component 2 – Reflective Logbook [Learning outcomes: 4]

The reflective logbook serves as a comprehensive record of the student’s critical and objective reflection on the development process of their project. It should evaluate the project’s outcomes in relation to its intended use and purpose, while demonstrating the capacity for self-directed improvement and professional growth.

Students are expected to document their thought processes, challenges encountered, and solutions applied throughout the project. The logbook should also include an evaluation of experimental approaches within the portfolio, offering critical insight into successes and areas for improvement. A small element of reflective annotation should be present within the portfolio itself, with the logbook providing deeper analysis and reflection on the overall development journey

Abstraction through design and the importance of play in creativity.

Understanding your client and the professionalism of deliverables.

Experimental practice and the development of cross disciplined art.

Understanding your audience – the commodification of art and the emotional resonance of artistic projects within the context of film or other esoteric mediums.

Understanding freelance practice as an artist.

Developing concept artwork for the use in film requires a more rounded and often artistically experimental approach to design development. In this module you will explore various abstract techniques to further your creative output. Alongside this, you will develop the necessary art directorship to distil those abstract ideas into useable pieces of work fit for industry.

Students will be expected to engage in a variety of learning strategies, including tutor-led formal presentations, workshops and self-directed learning.

Lecture session will consist of theory, methodology and good practice towards content deliverables.

Development support sessions will consist of individual guidance and demonstration of application of theory and art direction.

Bang, M. (2000) Picture this¿: how pictures work. New York: SeaStar Books.



Lerew, J. (2012) The art of Brave. San Francisco, Calif: Chronicle.

Harvey, S. and Berry, J.W. (2023) ‘TOWARD A META-THEORY OF CREATIVITY FORMS: HOW NOVELTY AND USEFULNESS SHAPE CREATIVITY’, The Academy of Management review, 48(3), pp. 504–529. Available at: https://doi.org/10.5465/amr.2020.0110.

Beddoes, E. (2013) Sketching from the imagination¿: an insight into creative drawing. Worcester: 3D Total Publishing.



Page, N. (2010) Creative character design techniques fostering ‘happy accidents’ with Neville Page . Design Studio Press.

Study guidance

Access to University of Staffordshire Library with compiled appropriate reading / artistically influential materials.

Blackboard VLE

Relevant software towards the goal of producing industry standard concept artwork including (but not limited to): Zbrush, photoshop, Blender

Relevant Hardware related to the goal of experimentally incorporating methods to developing concept artwork: 3D printing, Laser Scanning.