Game Development Reference
In-Depth Information
pattern to create an environment illed with blue willow buildings, trees, and landforms. Every surface is
deined by its texture as part of the whole, which is visually united by the color scheme.
4.3 COMPOSITIONAL METHODOLOGY FOR
THE SIX BASIC ELEMENTS IN VIRTUAL ENVIRONMENTS
Once you have grasped an understanding of the basic six elements of 3D design, the challenge of using them
in an effective way will become easier. Standing on the vast plane of a virtual space, trying to organize your
elements to make a cohesive visual statement can be daunting at irst. Have no fear; you can break this down
into manageable pieces and grapple with them one by one. With reference to Wikipedia's comprehensive
list of the design elements and principles [3], this section shows you a series of relationships between 3D
elements that create comprehensible arrangements or composition in a virtual world.
4.3.1 d
efining
The
l
eVel
of
d
imensionaliTy
Think about the theater for a minute. You have probably been to see performances done on standard prosce-
nium stages and have watched the actors break the vertical plane of that proscenium by coming out to the
edge of the stage. When a theatrical production demands more interaction with the audience space, there is a
move to a three-quarters thrust stage, and the audience is put on three sides. In the arena stage, built like the
Roman Coliseum, the ultimate immersion is achieved with the audience completely surrounding the perfor-
mance, or chariot race as it were. The same sort of “drama” exists in 3D design, as illustrated in Figure 4.3.
Bas-relief or “low relief” (from the French interpretation of the Italian term
basso-relievo
) is created by
allowing the 3D designs to just break the background surface. Of course, in 3D design bas-relief can be done
on all surfaces surrounding you, not just the walls.
Sculptural is the next stage of this process, shown in Figure 4.3 as the shapes start to break free of their
background surface. In the last stage, the 3D design becomes immersive and surrounds you with its elements.
4.3.2 e
sTaBlishing
u
niTy
One of the fundamental methods for creating a composition with visual impact is to establish visual unity.
As noted in the images in Figure 4.4, there are three ways to do this: using proximity, similarity, and rhythm.
You can use proximity, or the “closeness” of the elements, to unify the composition. Your eye will
group objects that are close together and perceive them as major elements. In Figure 4.4, look at the clus-
ter of objects on both sides of the space. Notice how they seem to create groups in your mind's eye, and
even though the arrangement on the right side may seem very dissimilar, you will still probably group it,
thinking (box + sphere) as opposed to (box) and (sphere). Similarity of elements also uniies composition.
As you can see in the second image from the top, the arrangement of cubes and boxes is uniied by their
rectilinearity. In the third image, several patterns of rhythm have been established to unify the whole. With
the rising sections on the surrounding walls and another repetition of the boxes and cubes on the ground, the
arrangement has two sorts of rhythm, one that travels vertically and one that travels horizontally.
4.3.3
p
oinT
, l
ine
,
and
p
lane
In good composition, you should include at least one point, line, and plane. In Figure 4.5, there is a virtual
world composition to represent the concept. Here, it is visualized as a sphere, a long thin box, and a lat cut
