Module Coordinator: Justin Magee
Module Content
Academic Year 2011-2012 Project Brief Timetable Reading List
Academic Year 2010-2011 Project Brief Timetable Reading List
Academic Year 2009-2010 Project Brief Timetable Reading List
Academic Year 2008-2009 Visiting Lecturer (J Magee on Research Leave)
Academic Year 2007-2008 Project Brief Timetable Reading List
Academic Year 2006-2007 Project Brief Timetable Reading List
Module Description
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MODULE TITLE:
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3D PRODUCT & CHARACTER DESIGN
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MODULE CODE:
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DES307
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DATE OF REVISION:
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Academic Year 2011/12
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MODULE LEVEL:
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5
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CREDIT POINTS:
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20
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MODULE STATUS
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Optional
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SEMESTER:
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1
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LOCATION:
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Magee Campus
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PREREQUISITE (S)
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DES124
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CO-REQUISITE (S)
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None
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MODULE CO-ORDINATOR (S):
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Justin Magee, Dr. (Magee Campus, School of Creative Arts)
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TEACHING STAFF RESPONSIBLE FOR MODULE DELIVERY
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Dr. Justin Magee, Mark Cullen
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HOURS:
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200
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Lectures
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6hrs
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Seminars
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18hrs
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Tutorials
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6hrs
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Practicals
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30hrs
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Critiques
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6hrs
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Independent study (including assessment)
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134hrs
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TOTAL EFFORT HOURS:
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200
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ACADEMIC SUBJECT:
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DESIGN
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RATIONALE
This module introduces students to the emotional domain within design. It develops the principles of 3D modelling as part of a common and developing technology into the related study disciplines of product design or character development for games or animation. Students are encouraged to reflect on designing for people, where products inhibit personality characteristics with market appeal and in virtual environments, designing characters which inhibit function characteristics relative to their purpose in the digital environment.
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AIMS
The essential aims of this module are:
· To establish a strong theoretical and applied practical grounding in emotive design
· To develop a technical proficiency and sophistication in terms of virtual 3D topology for product and character development
· To establish a strong “sense of purpose” within form and design resolution.
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LEARNING OUTCOMES
A successful student will be able to show that he/she can:
KNOWLEDGE AND UNDERSTANDING
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K1
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Understand the synergy between the design process and technology integration from concept generation through to production
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K2
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Understand the theoretical models associated with emotive design
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K3
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Understand visual narrative in terms of emotive design
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K4
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Understand the parameters of 3D topological construction
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K5
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Develop an awareness for family relationship within 3D design
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INTELLECTUAL QUALITIES
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I1
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Explore and apply the emotional domain models within design
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I2
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Expand creativity methods to think laterally and generate new concept proposals.
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I3
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Interpret the relationship between a person and a product / character or family brand leading to purposeful needs and user requirements
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I4
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Establish a personal emotive connection with the challenges of the brief and in turn a passion to succeed.
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I5
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Develop a sense of intuition through design process practice
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I6
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Critically analyse, interpret and evaluate how emotive design has been applied in self-generated original work.
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PROFESSIONAL/PRACTICAL SKILLS
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P1
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Illustrate a capacity for dimensional accuracy and geometric surface control using 3D software
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P2
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Demonstrate a strong sense of aesthetic treatment in the characterisation and form semantics of 3D design.
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P3
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Demonstrate the ability to concisely summarise theoretical reflection, formally in visual and written form
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P4
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Develop final project outcomes suitable for portfolio presentation
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TRANSFERABLE SKILLS
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T1
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Articulate ideas and context using diverse written and oral communication skills in context of specific tasks and to diverse audiences
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T2
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Defend final outcomes, through visual and oral presentation.
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CONTENT
Students will explore both product and character led project briefs. They will be required to understand and reflect on the interplay of different 3D design approaches. Functional emotive traits will influence character development while personality traits of a character will inform product aesthetics and user relationships. The outcomes will use similar 3D digital modelling methods to achieve high end visualisation to resolve the increased complexity of form or function derived from this synergy.
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LEARNING AND TEACHING METHODS
Lectures will enable students to develop awareness and understanding of approaches to creativity within the emotive design.
Seminars and study groups will enable students to discuss key issues and theory related to specific literature and design briefs.
Critiques will enable students to critically reflect on their developing design practice and on the interconnectivity of their learning experiences.
Practicals will enable students to become proficient in the use of relevant technologies and improve software dexterity.
Tutorials will enable students to clarify and articulate their ideas with focused synthesis.
Independent study and peer learning will enable students to pursue their personal learning pathways towards a career vision as they engage with the module challenges.
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ASSESSMENT
There are two main areas of assessment. The first is a portfolio of applied practical work and the second a related theoretical reflection and academic abstract poster presentation.
Coursework 1: 80%
The design portfolio should include the following:
· Visual contextualisation through mood boards
· Reflective contextual journals
· Documented user and character profiles
· Creative problem solving evident in sketch books
· Sketch models (polymer clays and /or digital)
· Dimensional illustrations
· 3D computer visuals
This assignment will measure the students achievement of the following module outcomes:
K1, K3, K4, K5, I1, I2, I4, I5, P1, P2 and P4
Coursework 2: 20%
This theoretical component requires students to develop an academic poster and an associated digital presentation.
· The poster is A2 in format and includes legible text in a legible typeface (not specified), limited to 400 words. It includes an effective 3D visualisation of original creative work with narrative which contextualises their design solutions in respect of emotive design literature.
· The digital presentation is a 10 minute discussion forum to convey their critical reflection and must be fully referenced using the Harvard system.
· An A4 word document with the abstract and references is also required in digital format.
K2, I3, I6, P3, T1 and T2
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100% Coursework
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0% Examination
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REQUIRED READING
· Desmet, P., Hekkert, P., 2009, Special Issue on Design & Emotion, International Journal of Design Vol. 3(2) August 2009
· Desmet, P.M.A., 2003, a Multilayered Model of Product Emotions, The Design Journal, Volume: 6, Issue: 2, Pages: 4-13
· Ridderstråle J and Nordström K., 2002, Funky Business, Sweeden, Bookhouse Publishing AB
· Norman D., 2004, Emotional Design: Why We Love (or Hate) Everyday Things, NY, Basic Books
· Hitchens S. et al., 2004, Design Issues in Europe today, Bureau of European design Associations (BEDA)
· McDonagagh-Philip, D., Lebbon C, 2000, The Emotional Domain in Product Design, The design Journal Vol 3. Issue 1. Pages 31-43.
· Ortony, A., Clore, G.L., and Collins, A. (1988). The cognitive structure of emotions. Cambridge: Cambridge University Press.
RECOMMENDED READING
· Boaz, L., 2008, Mental ray for Maya, 3ds Max and XSI: a 3D artist's guide to rendering, London, Wiley
· Demers, O. & Christine, U., 2001, Digital texturing & painting, Indianapolis, New Riders
· Desmet, P. et al., 2002, The Basis of Product Emotions Delft University of Technology Department of Industrial Design. In: W. Green and P. Jordan (Eds.), Pleasure with Products, beyond usability (60-68). London: Taylor & Francis
· Desmet, P.M.A. (2003). From Disgust to Desire: How Products Elicit Emotions. In P. Hekkert, D.C. McDonagh, & J. van Erp (Eds.), Proceedings of the third international conference Design and Emotion.
· Fitzpatrick, L. 2010, The art of Avatar, Abrams
· Kaufmann M., 2006, Better Game Characters by Design: A Psychological Approach, Interactive 3d Technology series
· Sarris N., Striszis M.G., 2005, 3D modeling and animation: synthesis and analysis techniques for the human body, Hershey, IGI Publishing
· Hartas, L., 2005, The art of game characters, ILEX Press
· Spenser, S., 2011, ZBrush Character Creation: Advanced Digital Sculpting, second edition, London, Wiley
· Ueki-Pollet K. & Klemp K., 2009, Less and More; The design Ethos of Dieter Rams, Berlin, Gestalten
· Walde D. & Hellard P., 2005, Elemental 2, The world’s best Autodesk Art, Adelaide, Ballistic Publishing
· Yancey C., 2008, Game character modeling and animation with 3ds Max, Oxford, Waltham, Focal Press
SUMMARY DESCRIPTION
This module nurtures a development of 3D design and digital visualisation into specific fields of Product or Character development but bringing interdisciplinary approaches together to inform each practice through emotive design. Students will use 3D problem solving relating to functional, social, behavioural, cultural, gendered and emotional contexts to develop 3D solutions which have market appeal.
