extra-Workshop – Modeling with Blender

Modeling a Whale with Blender


Neilblevins.com. (2020). CG Education. [online] Available at: http://www.neilblevins.com/cg_education/primary_secondary_and_tertiary_shapes/primary_secondary_and_tertiary_shapes.htm [Accessed 12 Jan. 2020].

PROYECT 4 – 2D/3D/4D


I started this super-motivated project with many ambitious ideas, which have gradually been reduced to more realistic results. I left Unity aside even though I wanted to go deeper in the future. I have focused on Proccessing because it is more related to external interactivity, from different sources. And it is also more complex when it comes to programming. This is another reason why I chose Proccessing to loosen up more with the programming.


My game is about an online node that wants to get all the data on the planet to take control of humanity. And it has to get as much data as possible from the different platforms that are known to everyone.

The idea of this game is that it would be combined with video mapping and people could interact with the game directly by moving their body.

So far, so good… But I found it very difficult to start working… the simple things like the movement of a sphere in proccessing or the displacement of an object with the keyboard, has made me take longer than expected



Given my limited knowledge of programming it’s taking me a long time to get what I want from the game. But on the other hand I’m starting to understand the basic concepts such as what One Class is, a builder, a function and how to use them.

The most complicated thing for me is to make good use of the arrays. I feel that I don’t get enough out of them.

Luckily I already have my main character moving in the X-axis and releasing independent projects from his position.

I also have different Spwane objects appearing from above, but I think I’ll have to change the way I’m creating them because it’s all the time the same object appearing in different places. However, the projectiles are totally independent objects. And why haven’t I done the same with the enemies? Because at the time of creating the enemies I didn’t know any other way to make them.



After that I had something to play with, but I didn’t really have anything, just a character moving around shooting projectiles and other objects spawning from top but without interaction!

So I was thinking for a long time to check ALL MY PROJECTILES AND MY SPAWN OBJECTS in real time and know if any of them comes in contact with another one of them.

The first thing I did was study more about objects, classes and functions. Then I transformed my projectiles and my enemies into different classes with their builders and functions.



This is where I start generating new objects for every time I press a key that causes a new object to be created and added to an ArrayList.
ArrayList enemies = new ArrayList();
And of course why I don’t use a normal Array instead of an ArrayList, because I tried it and it’s more complicated. Difficult for my current skills. However I can use ArrayList as if they were normal arrays, and also with extra functions like add(), which adds an object to the array and increases its total length! Likewise if I use remove(), I remove an element from the ArrayList and modify its total length as well! This is great! With only one line of code!

ArrayList<enemies> enems = new ArrayList<enemies>();
// contador para spawnear nuevos enemigos
  if (frameCount % 120 == 0 || spawn > 98 ){
    ene1 = new enemies();
  player.display(); // player controller

After this I discovered that by using a for I could show all my projectiles at the same time. And I did the same with the enemies

for (int i = 0; i< projs.size(); i++){
    //println("  Projectile nº: " + i + " Position : " + projs.get(i).pos);

Now I only needed the “simple” ones, to delete the objects from the array when they are intercepted or disappear from the screen. This process took me several long days.

I was going to post the code, but I don’t think anyone’s going to take that long to figure it out.

Once I managed to finish making it work, I implemented a point system for those functions to have a “solid” Prototype with which to continue adding material to it.


I was a little scared because I didn’t know what to use as 3D since I was working on a 2D project… But I came up with a great idea! To create a StartScreen for the prototype that was in 3D! So I was researching and watching several videos about processing and 3D, I have to say that it is VERY complicated and it takes a relatively good level of Arithmetic and Trigonometry. But there’s nothing you can’t learn by putting in the time and effort! Luckily I discovered that in the College Library there is a book called “Processing, A programming HandBook for Visual Designers and Artists” and there I learned a lot about sin(), cos(), pow()… And more that I will learn!

I thought a couple of objects in a 3D environment with a little text wouldn’t cost me much… 250 LINES OF CODE!

The first I got something that at first glance does not seem much but … only the cube and its movement with the mouse is 98% of the function StartScreen()!!!

The cube was difficult because I didn’t use any primitives! I created 8 points on the x,y,z axis and then linked them with lines. A lot of work but I can use each part of my cube individually, or use it all at once.


With the sound I had clear what I needed from the beginning, a background as a base. And some more for the movement, the shooting and the destruction. What I was looking for in this section was to go deeper into the capabilities of Processing.

I wanted a sound with rhythm, to bring out its sound spectrum, with 4 bands is more than enough. and to use the amplitude of each band as input for the temporal size of my enemies in real time.

Everything magnificent to work! But I see that it doesn’t work on the . mp3 and .wav files… I investigate and discover that Processing by default only takes AIFF files! So with Audition and Media Encoder I took my files and exported them again with the format I wanted and crossed out!

After that I only had to load the files following the Processing.Sound documentation and I haven’t had many problems to implement them, since my special effects are directly related to events I already have programmed in the game. I only had to go to each part and play each sound with a simple sound.play().


Processing has in its sound library a function called FFT that analyzes the waveform of an audio.

I’ve only taken four to load minus the program. This function does if you put it inside Draw() it analyzes in real time the audio track and updates at the same time all the values in an Array in this case Array[4] where 4 is the number of bands we have chosen previously. Then we have to normalize those numbers because they give us a few useful raw results. And then we will assign them to the size of our enemies in real time!

I leave an exaggerated example to be understood, this will not exist in the final Prototype.

Dots resizing by the low amplitude of a song

Finals Conclusion

This project has challenged me and I have learned a lot, but I have not focused as much on my audience. I have decided to focus more on my needs as a designer, programmer, artist or whatever. It doesn’t help that I know how to solve a problem with a specific target. If I don’t have enough skills to develop the problem. I think we need to develop more our skills as individuals and create what we like. And not create for others to like. Following this methodology only reaches people in a cold way.

When a person creates something they should create it in which they would like to transmit to the world based on their point of view and their philosophy. The targets that we seem to be talking about are enemies rather than people will appear on their own if you create things with desire and good energy. No pressure, no stress. Because then all that is reflected in your work.

For my part, I know that the Prototype I have designed is far from being something consistent, leaving aside the visual design that I have not spent much time on, I have developed my programming skills a lot. And that make me very happy.

0001/0002 Workshop – C.R.A.P

Task of this week I’m working in design posters banners and webs using the basics design priciples.


First we need to understand propely this principles to apply that in our profesional or personal proyects. There is like kind of Laws of Grafic Design that works and if you know how to follow you can create Easy, Friendly dinamics Design that can Convey feeling emotions ….

For this task I have decided not to spend much time on the background. I preferred to focus on the content and how it should be distributed. I have also thought about the colors and how to play with them because it is one of my weaknesses.

After looking for several examples of inspiration I have decided to use Oranges, Browns and Yellows as a base color. And to generate contrast the blues.

Banner- Task
Poster – SteamPunk


Alejandra Ávila. (2019). 4 Principios básicos de diseño para diseñadores instruccionales.

Available at:

4 Principios básicos de diseño para diseñadores instruccionales
[Accessed 18 Dec. 2019].


What’s the plot?

Higgs Logo

A scientist Called Hipo has emulated the creation of the Univierse and the birth of the Human in a virtual machine.

But now Hipo encounters a serious problem! Virtual scientists try to discover the Boson of Higgs.

But if they do, they could make the real and virtual universe collapse into a temporary PARADOX!!

Hipo has too much sympathy for his virtual world to erase it, so he only has one way to remedy it. Interfering without humans realizing they are really a Virtual Machine!

To do this the Hipo will use the elements of nature to go undetected and save Higgs Bosson from being discovered!

Target specs:

Genre: Puzzle-Strategy
Target Rating: PEGI 3
Target Systems: Pc/Android/IOs
Average Game Lenght: 365

Promotion Video

Game Play

Short Mecanics

Its a click, drag and drop game. In which the player must decide between the 4 elements or the combination of them to complete each different level.

In each level you will find different challenges and Enemies in which you will be able to test your God Skills.

It is an evolutionary game in which the Higgs will change his attributes throughout his advancement.

It all depends on how you use your skills. Do you want to be good? or…?


Project 2 Design/Play/Disrupt (Task 1)

Task 1: Critical Perspectives and Contextual Research

This project has been for me more complicated than I expected, a lot of information to look for, many websites, books, opinions…..

There is so much that many times you don’t know where to spend more time researching or reading than in another. Sometimes in official pages or books you find a lot of information. other times you find more information in a comment! of a post of some unknown that in entire pages of books and webs…

It’s difficult to move between link and link… you jump from one side to the other thinking… and who will be this person who says this… who is dedicated… ohh look has its own website we will look… and when you want to realize has spent an entire afternoon and you have not pointed anything … It’s frustrating because you always think that the answer may be somewhere else and not where you are.

But in the end you realize that… Of course you find useful information! but it is important to take notes of everything! at all times!

Real Time Art Manifiesto


This was the phrase I chose from the manifesto. When I read it, it reminded me of a friend who always spoke to me about these types of poems. And the point is, like allways in life… make things simple… or at least try to not complicate yourself too much if you dont know some task. I have created a BrindMap for that, to make more visual the concept or at least how I understand that.

+ info about Haiku Poems(Wikipedia)

Extra Reresearch Terms

The Triangle of Weirdness

It’s a term he mentions scott in his book Level Up. According to him, there are certain barriers that you can’t overcome when it comes to innovation. Within those 3 variables you can only use your creativity to create something different in one of the 3. You have to Choose. Word, Activites, Character.

Don’t do more than one of these things because you can alienate the public. A game about unicellular perriform monsters playing an asymmetrical strange linguistic sport of ambivalent rules in a volatile world of dreams and planets made up of delusions and cream… no!

The Elemental Tetrad -of Games

Aesthetics: This is usually put at the top of the chart because the aesthetics of the game are the most visible aspect. Aesthetics aren’t just the appearance of a game, but everything that appeals to the senses. How does it sound? If it’s a board game what does it feel like, or smell like? Make sure that when creating your aesthetics that they reinforce the other parts of the tetrad.

Story: This is the sequence of events that take place in your game. Who are the characters of your game and how do they interact with eachother? What is the plot to your game and does it contribute to the experience you are aiming to create? Does it reinforce your aesthetics?

Mechanics: This is the core of what makes a game. These are the rules of the game. Some examples of what constitutes mechanics are; Mario can jump, pressing B shoots, players cannot play more than one card a turn, if the soccer ball gets into the other team’s goal your team scores. Mechanics are what make a game interactive so think, “message through mechanic.” Make sure your mechanic isn’t offset by your story or art.

Technology: This is what makes the game work. What is the hardware, or what is your board game made out of? The technology of a game is the least visible part of the Tetrad and is at the bottom. This might not seem important to the aesthetics but the technology limits what is possible. Mario only looks the way that he does because of technological limitations. His mustache is used to define his face and nose. He wears a hat because there wasn’t enough room to animate his hair when he fell. And last he wears overalls so that it is clear that his arms move while running.

The fourth wall

“l” is an expression stemming from the world of theater. In most modern theater design, a room will consist of three physical walls, as well as a an imaginary fourth that serves to separate the world of the characters from that of the audience.

In fiction, “breaking the fourth wall” often means having a character become aware of their fictional nature. This can range from a character advising the player to “Press X” or “Press A” in a tutorial, (referring to a controller button that does not exist in the game) all the way to Psycho Mantis reading the player’s memory card and mentioning the other games they’ve been playing.

However, the most conventional violation of the fourth wall is when a character (or the game itself) openly acknowledges they are in a video game, or directly refers to the player.

Uncanny valley

Uncaved valley talks about the thresholds of perfection and the imperfect, the real and the abstract. Many times we invest a lot of energy in creating something perfect that our abilities do not even allow us and the result is the fatal…

Many times it is better to make a sketch relatively close to reality than to try to imitate it.

Our sense of aesthetics and visual perception becomes more tolerable, unconsciously, with imperfect things.
However, with perfect things, the smallest erroneous detail makes us see trash.

From left to right. Last point, Second Point.
3º Point.



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Rock Paper Shotgun. (2019). The 23 best bite-size games for busy lives. [online] Available at: https://www.rockpapershotgun.com/2017/05/05/best-short-games/1/ [Accessed 15 Oct. 2019].

Sheffield, U. (2019). Mind Mapping – Everyday Skills – Study Skills – 301 – SSiD – The University of Sheffield. [online] Sheffield.ac.uk. Available at: https://www.sheffield.ac.uk/ssid/301/study-skills/everyday-skills/mind-mapping [Accessed 15 Oct. 2019].

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Tallerdeescritores.com. (2019). Ejemplos de haiku. [online] Available at: https://www.tallerdeescritores.com/ejemplos-de-haiku [Accessed 15 Oct. 2019].

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WorkShop 0006 Research Task

Before you could fight dragons, sail the seven seas, experience war, or transport yourself to another world in the comfort of your living room, there were amusement arcade games, one of the biggest successes in 1970s and 1980s pop culture.

Rebecca Northfield

Research task

The basics of starting a search can sometimes be a bit complicated, either because you don’t know where to start or you don’t know WHAT to look for, because you’re not clear.

I have to choose a design principle that we have worked on before, take 1 set Retro Arcade and another Classic adventure. And look for that design principle in these games. And compare their meaning.

After looking for information about them I have to do it with my own, My Restro game, and my Story Game.

After a while, and take a look at WorkShop 0003 Design Principles , I discovered that a principle was missing in it! Rhythm! Somehow I forget to write it in my homework… I think this is a se;ar to dedicate more time to this principle, so my Research will be based on…

How to get player’s attention

we must not confuse: immersion and attention.


An immersive game makes you feel like you’re there, but the attention makes you want to be there. So our goal is attention, but… how do we get this attention? The two most vital aspects to keep in mind to achieve this goal are to have a good flowchart and to properly follow the design structures of our game.

Which Game to Choose!

After dedicating a few hours to the search of which game I would like to do the research, I have not found yet a clear objective, nevertheless I have learned enough about the history of the retro games and of the coin-operated Games.

Everything started with the creation of a Submarine Emulator.

This is when American businessmen Martin Bromley, Irving Bromberg and James Humpert formed Standard Games (now Sega) in Hawaii and made coin-operated amusement machines for US military bases.

It is said that from the late 1970s to the mid-1980s was the “golden age” of arcade games, when this type of entertainment was a superpower in popular culture. Space Invaders (1978), Vector-based Asteroids (1979) and Pac-Man (1980) were the highlights of this period.

I’ve read about different old titles, classic arcade, I’ve been watching Game Plays videos, and reading a bit about their History, creative process… But I couldn’t decide for any of them. Among the ones I’ve been reading are. Dungeon Master, Labyrinth: The Computer Game, Space Invaders, Tron, and Lemmings.

As principle of the design that I have chosen is the Rhythm, observing some of these previous ones, Some of them lack totally of it as it is the Case of Dungeon Master and Labyrinth. Where I suppose that for the time would be a novelty and quite entertaining when developing an interactive story, but on the other hand I think they could have made more effort in the sound, or some music to accompany the game. Honestly I saw the GamePlays of these previous directly I was sleeping.

On the other hand I’ve been looking at Tron, This however regarding sound and rhythm has enough. Although, from my point of view, it seems to me a little garbage and an attempt by Disney to make money from different sides. A game with 4 apparently meaningless minigames based on the movie. Anyway, I didn’t want to dedicate any more time to it. I didn’t like it.

So I finally decided on Space Invaders and The Lemmings.

Rhythm on Space Invaders and Lemmings

In space invader I feel like I have to be playing, I have to be attentive, the game keeps me there. The movement patterns of the invaders keep the attention, a rhythm, that the player can foresee after having played for a while. The sound also accompanies it, which helps with the immersion. There is action! Reflexes!

As we kill the invaders, their speed will increase, making reaching phase 5 quite complicated. It’s a classic to be left with just one invader, who goes from corner to corner watching as you miss shot after shot and is gaining ground, something that coupled with the music of the game, creates an atmosphere of increasing anguish at all times. Perhaps, to say music is to say too much, because during the whole game we only hear four tones that are repeated again and again, and faster each time.

What causes ships to go down faster was produced by a glitch but it was kept because the programmer considered it “made the game more interesting”.

GamePlay Space Invaders

The success of this video game is legendary, in Japan there began to be a great shortage of coins, since they were used in video game rooms. The government had to increase the number of coins to cope with the emergency.

In Lemming, the rhythm of the game is also managed very well, they use music to accompany the movement of the Sprites. The lemings when activated always go to the rhythm of the music.

Both games try to combine the Elapsed Time, with the movement of the sprites and the Sound. It is obvious that no matter how good a game is, if it doesn’t have rhythm, it gets tired and boring before. It is more difficult to submerge in it.

My Own Games

Umai and Roots

In my games, both in Maze and in the story, I think the rhythm is conspicuous by its absence… Maybe the game Umai has more rhythm thanks to the Sounds, the direct interaction with enemies, the deaths and the coins. I tried to give it some more life also with the music but, somehow, I have the feeling that they are not in harmony. I feel that they are not really synchronized music/movement/effects. I don’t know exactly how I could do that to synchronize them in a more accurate way.

I finally found a solution! speedup the BPM of the song! And that’s it!

Although for being the first game I have to say that I am quite happy with the pace of the game. I would also have to put more levels and movements to our enemies for a bigger immersion. The first music is hidden, and you only discover it if you press a specific button. So only the curious will be able to hear music and discover the story!

On the other hand my game StoryTelling (Roots), totally lacks Ritmo, was not created for it. I honestly didn’t think about any of the principles of design when developing it. I focused more on trying to create a story and learn a little how to play with the possibilities that Twine gave me. That the story would follow a flow… so to speak… organic! I think that if the interactive stories, just text, must have a lot of rhythm that must come from the Narration because clearly the player if you do not sleep … You should play several times and see at what points the time feels slow, or in which places there is too much information followed and try to split it into steps that make the player think and interact more.


All this research has made me see how the world of video games emerged and how they have evolved in so many aspects. Video games have changed a lot until today. But in a certain way They are attempting to get back to what happened in the days of the Coin-Games. Play for micro payments. In the past it was done mechanically and now little by little the same, but in a virtual way. It is ironic.

Regarding the principle of the design I have chosen, I feel from my point of view, which is one of the most important. It may be that other design principles are not so well used, if your game has rhythm! Will have attention!

And finally I want to share a Retro game that I have found looking for the concept of Rhythm in video games in which you only have to press a button to follow the Rhythm of different songs!

One Button Game about Rhythm


Arcade-history.com. (2019). Space Invaders arcade video game by Taito (1978). [online] Available at: https://www.arcade-history.com/?n=space-invaders&page=detail&id=2537 [Accessed 9 Oct. 2019].

Eandt.theiet.org. (2019). Gaming’s golden age: top 10 retro-vintage arcade classics.[online]
Available at: https://eandt.theiet.org/content/articles/2018/07/gaming-s-golden-age-top-10-retro-vintage-arcade-classics/ [Accessed 9 Oct. 2019].

En.wikipedia.org. (2019). Tron (video game). [online] Available at: https://en.wikipedia.org/wiki/Tron_(video_game) [Accessed 9 Oct. 2019].

Gamesupm.com. (2019). Seminario sobre la estructura y ritmo en el videojuego. [online]
Available at: http://www.gamesupm.com/noticias/45/seminario-sobre-la-estructura-y-ritmo-en-el-videojuego.html [Accessed 10 Oct. 2019].

Javalemmings.com. (2019). The Lemmings Story – Part1. [online] Available at: http://www.javalemmings.com/DMA/Lem_1.htm [Accessed 9 Oct. 2019].

Maher, J. (2019). » Dungeon Master, Part 1: The Making of The Digital Antiquarian. [online] Filfre.net. Available at: https://www.filfre.net/2015/12/dungeon-master-part-1-the-making-of/ [Accessed 9 Oct. 2019].

Space-invaders.publijuegos.com. (2019). Space Invaders. Todo sobre el juego clasico Space Invaders.. [online] Available at: http://space-invaders.publijuegos.com/ [Accessed 10 Oct. 2019].

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Workshop 0003 Design Principles

The basic principles and elements.

  • Space
  • Balance
  • Hierarchy
  • Pattern
  • Proportion
  • Emphasis
  • Movement
  • Contrast
  • Unity
  • Rhythm

In our task we seen the beginning of space. a concept quite interesting form design, speaks of how to distribute the elements in it, how to use empty spaces, how to use the “Not elements” or empty space. All of them agreed to create limits, shapes, depth.

We discovered the existence of negative space
The negative space in a graphic design is the space around and between a subject in an image. It is a space that helps to define an image by emphasizing it to convey a message.

It is a space that helps to define an image by emphasizing it to convey a message.

Also known as blank spaces, it is considered as a hidden message that is transmitted in the design of both posters and logos.
A good use of the negative space is made by choosing the right colours, the right typography, shadows, gradients and perfect shapes.

A good design is one that besides transmitting a clear message seen with an obviousness, captures in a deeper way the creative concept giving a second message or several, taking advantage of all the spaces within the design.

The message is to give in a subliminal way must be done with creativity and intelligence, with the aim that the consumer or user translates the message correctly. A design is not about blocking spaces or leaving them empty without transmitting, they must take advantage of all the lines and give them a correct use.

Negative space creates balance and harmony, attracts attention and is attractive. It is space considered as the key element in a good artistic composition.