A polygon is a two-dimensional shape with straight sides used to create 3D objects. Polygons are connected at edges and vertices to form a geometric mesh that is manipulated to form 3D models. Though polygons can have many sides, 3D modeling typically uses quads and tris. The number of polygons, or polycount, determines resolution, but high polycounts can cause rendering issues.

1. Polygon
A Polygon in its simplest definition is a closed shape with straight sides. To take it one step further, it is a two-dimensional shape
made up of faces, edges, and vertices used to create 3D objects in animation. The polygons are connected along the edges or at the
vertices to form a geometric mesh and then manipulated to form the 3D Model. Though polygons can be squares, triangles,
pentagons, and hexagons, in 3D Modeling we typically use quads - four sided, or tris - three sided polygons. It is important to consider
how many polygons are in a mesh, referred to as poly-count, as resolution is determined by polygon density. Though high resolution is
preferred for detailed work, high poly-counts can cause issues when rendering.
http://animation.about.com/od/glossaryofterms/g/What-Is-A-3d-Polygon.htm
http://3d.about.com/od/3d-101-The-Basics/a/Anatomy-Of-A-3d-Model.htm
http://t0.gstatic.com/images?q=tbn:ANd9GcQ2ejHmmKiTEpG9PRepCmTtqo8nt22UWKPHpAe5DvESEbgu_p5G
http://t0.gstatic.com/images?q=tbn:ANd9GcTnnmmX-yFgJ-GuyVF9jsN80qgxCehDNnMCdjxjvECavZNTwpri
Computer Animation

2. Computer Animation Modeling/Sculpting
Digital Sculpting has taken 3D Modeling to a new level by allowing the Digital Artist to scale, rotate and freely modify
the object in very much the same way as a traditional sculptor works with physical clay and clay modeling rakes. The
digital process is intuitive and efficient through the manipulation of millions of polygons producing incredible detail from
the high resolution meshes. Professional 3D Modeling software includes Autodesk Mudbox, Blender 3D, and Pixologic
Sculptris featuring ZBrush. These programs provide the artist with an arsenal of custom brushes and tools to support
creativity and fast workflow.
http://3d.about.com/od/3d-101-The-Basics/a/Anatomy-Of-A-3d-Model.htm
http://cad.about.com/od/3D_Animation_Software/fr/Sculptris-Alpha-6.htm
http://t1.gstatic.com/images?q=tbn:ANd9GcS92DdPRYYTrLmjTI6GW7ZR9SiuxP2hIWosA3zbfhVWXnq77qy7

3. Computer Animation Character Rigging
The Modeler hands his static 3D mesh character model
over to a Technical Director (TD), or Rigger to prep the
work for animation. This process involves the bounding
of the mesh model to a system of joints and control
handles that will enable the animators to pose the
models. The rig simulates a skeleton with joints and
bones that can be used to bend the character. These
rigs can be simple or complex and adhere to the rules of
joint hierarchy and kinematics. Facial Rigging is
performed separately from the main motion controls, and
usually involves working with morph targets.
http://3d.about.com/od/Creating-3D-The-CG-Pipeline/a/What-
Is-Rigging.htm
http://t3.gstatic.com/images?q=tbn:
ANd9GcRAfKht6Mha4pOnQr0ZORD0uynbAFEfslQ1TwGAzP
F7NXJNTYAlJA

4. Computer Animation Shaders
Flat Shading as we can see is faceted with hard
polygonal edges. Those sharply creased lines of our
polygons can be softened by Gourand or Smooth
Shading. Vertex normals change the gradient shading
of a polygon. We change the shading by changing the
angles of the vertices. Smooth Shading results in
lighter meshes and faster rendering.
Phong Shading, developed in 1973 by Dr. Bui Tuong
Phong at the University of Utah for heightened
resolution of specular reflections for the effects of
making characters appear grounded and truly present
in a 3D environment. Texture artists using Phong
terms can integrate specular masks and exponent
textures with the existing lighting to provide greater
definition.
http://t2.gstatic.com/images?q=tbn:
ANd9GcQbFCzSoikoio1G6LSwfmoP3_ekvMkAUT
4Ch_1FM-OTXYdH4LE7
http://wn.com/flat_shading
https://developer.valvesoftware.
com/wiki/Phong_materials

5. Rendering
Computer Animation
The models that are produced during sculpting and modeling, and then rigged are actually mathematical representations of the
polygons and vertices in three-dimensional space. The 3D software package includes a render engine that translates the
scene from that mathematical approximation to a finalized 2D image. Real-time rendering is used for gaming and interactive
applications where high speed processing is facilitated by dedicated graphics hardware. Offline rendering is processed at a
lower speed and is generally used for animation and visual effects and photorealism. Multi-core CPUs process calculations
rather than dedicated graphics hardware (GPUs).
http://3d.about.com/od/3d-101-The-Basics/a/Rendering-Finalizing-The-3d-Image.htm
http://t0.gstatic.com/images?q=tbn:ANd9GcTiefo807HGb5FHDB2d0EB1PfjJEdiSzKa0kxdFSEjcu3uh9hjLUg

6. Game Engine
http://www.gamecareerguide.com/features/529/what_is_a_game.php
http://t2.gstatic.com/images?q=tbn:ANd9GcRRGJj_2l0FFiZe-gldmCKxTXv7hHSvcX7xkvUyi3OH--mIy7OFHg
The Game Engine should be differentiated from Game Content. Game
Developers include the designers, artists, scripters and programmers who
work together to create unique content such as specific models and textures,
the meaning behind object collisions and input, and the way objects interact
with the world of players.
Conversely, the Game Engine gives life to the game through the application
of physics, the animation of models, real-time rendering, input, collision
detection between objects, graphical user interface, and artificial intelligence.

7. Game Design Geometry
CULLING IN 3D ENGINES is intended to minimize polygon density in the rendering process and it is achieved through
various forms of visibility selection, based on a “simple principal that if something is not seen, it does not need to be
drawn”. View frustum culling refers to six clipping planes which together form a cut pyramid. If a polygon lies outside
the pyramid, it can be discarded. Back-face culling is automatically performed during rendering and will cut roughly half
of the polygons inside the viewing frustum, based on the assumption that polygons that do not face the viewer cannot
be seen. Multiple forms of cell-based occlusion cutting reduces poly-counts in modern games that were not visible in
view frustum and back-face culling. These methods attempt to “identify the visible parts of the scene, thus reducing the
number of primitives rendered”.
http://www.gamedev.net/page/resources/_/technical/graphics-programming-and-theory/geometry-culling-in-3d-engines-
r1212
http://t2.gstatic.com/images?q=tbn:ANd9GcQOfWMt-aOpIt9d-xl7lSH1LDlzLzBvpDXFVDWRGbae92JqWJ_S

8. Artificial Intelligence
Artificial Intelligence in Gaming only needs to simulate
intelligence to the degree that the player is faced with a
believable challenge that ultimately he can overcome. AI
is fabricated in computer-controlled players in multi-player
games. AI in more complex games requires the
perception of players actions and the capability of
evaluating the success of player decisions. It is this
decision making core concept through AI push systems
and entity pull systems that enable the game’s AI to affect
the player. Game Designers must meet the challenges in
enabling the game AI ways of perceiving its environment
so that meaningful decisions are possible from the AI
perspective.
http://t3.gstatic.com/images?q=tbn:
ANd9GcSljKE9p3rSVcbnPFLVwiMsk6t6Y3V7CAldvsfIkLx
4dmXZMoFKEA
https://software.intel.com/en-us/articles/designing-artificial-
intelligence-for-games-part-1
Game Design

9. Game Design Platform
Game Design Platforms can be described as an Operating System Platform, an Application Platform, or any “hardware
or software architecture that serves as a foundation or base” for video gaming. Trends indicate an increase in mobile
gaming, multiplayer and cooperative play based games, and educational games. The excitement around Virtual and
Augmented Reality gaming is growing as technology is opening possibilities evidenced by the acquisition of Oculus Rift
by Facebook. It is likely that Virtual Reality will be at the forefront of mainstream gaming with the consumer release of
Oculus Rift in early 2016. VR is only the beginning as 4D, the blending of the real world with computer generated
elements promises to be a game changer.
Shinra Technologies, a subsidiary of Square Enix, known for the legendary series “Final Fantasy” is working on a
‘persistent world’ platform that they say will change how online gamers interact with the digital world. The experience is
so realistic that AI devise intelligent strategies based on the player’s tactics and the world within continues to evolve so
that one’s experience is new from one visit to the next.
http://t2.gstatic.com/images?q=tbn:ANd9GcRf_LapdyWhUmFZXAlU7JEQ5_praMm8g2jZ_VivcHP5JNqUJq7t
http://worcestermag.com/2015/05/14/level-up-worcester-a-player-as-video-gaming-booms/33542
http://fortune.com/2015/05/09/persistent-world-cloud-video-games/

10. Game Design Assets
http://t2.gstatic.com/images?q=tbn:ANd9GcTuLWCHzzdBm_4lWTvBk47TGahhJ7m-M-nZpv0NjZumLv7-_FH0
http://www.gamedesignresources.com/tools/game-design-assets/
http://www.gamedev.net/page/resources/_/business/business-and-law/managing-digital-assets-in-game-development-r1371
Game Designers generally have
an arsenal of 3D Character
Models, Sprites, Scenes, Sound
Effects Files, and Source Files as
Resources for Future Game
Designs.
It is important to maintain an Asset
Management System where
design assets can be “cataloged,
searched, and retrieved for future
use”.
This image is an upside down
force model of the Colonia Guell
by Antonio Gaudi located at the
Sagrada Familia Museum. It is an
early example of parametric
design and an interesting example
of what could be considered a
Game Design Asset.