Within this document we aim to give examples of the various processes and skillsets required to deliver a successful product. Starting with initial brief in the paragraph below, we go on to discuss the more common stages of a project from early concept sketches through to detailed design then on to build completion.
(This document is not to be shared without permission, many thanks)
INITIAL CONTACT & BRIEF
At this stage we would normally collate the information from our client about the project, rough ideas of dates, design deadlines, build time and start to investigate a budget. The ideal is normally to be given a set budget to work to, this can save a lot of time and cost from the o -set as we are able to start developing concepts which are feasible and e cient, rather than spending a lot of time and attention on elaborate ideas which ultimately will be di cult to achieve. In all honesty this scenario is a rarity, and we fully understand this can be di cult to set early on, so we can talk through various options with the aim to squeeze as much content as possible into the project.
In some cases it may be necessary to carry out a site survey, where we can assess the space, take measurements and start talking about ideas we could focus on for the first stages of design.
DEAD WALK DESIGN LTD
CASE
If there is no firm idea of what is required for the concept of the experience we create a small presentation with internet sourced images and examples from similar attractions and world reference. We break these down into a few options (for example: “Temple Theme” / “Sci-Fi” / “Haunted Attraction”) with which we give a written description of how each suggestion could be achieved and, if applicable, rough budget range.
From this initial document we can usually get a good feel for our client’s vision and be able to move forward into further designs.
This page show examples from a moodboard for a Tiki bar. The following pages are extracts from other project moodboards.
For a complete example from a restaurant project we worked on, follow this link: https://issuu.com/deadwalkdesigns/docs/manbo_s_-_moodboards__30-11-18_?fr=sN2YxYzU2ODg0MDI
There are a number of di erent ways to present mini golf: UV courses, animated obstacles, themed environments etc.
Perhaps if the building is split into rooms, these could each have a di erent theme, such as haunted house, wild west, circus, space ship or urban themes.
Variation in hole design is also important, to keep the game interesting throughout.
To achieve a futuristic theme, yet keep things economical, a dystopian theme would suit the space, rather than high gloss finishes as found in a more clinical sci-fi theme.
This can then be tied together with some more fantastical creations and lighting created out of junk and found items, much like the vehicles and machines in Mad Max.
Once we have an idea of themes and a scheme to follow we start with quick pencil sketched illustrations to get a feel for the space and start developing ideas for atmospherics and individual features. This is quite a crucial stage in the early development of a concept as many ideas can be put to paper quickly and at low cost, almost acting as a visual brainstorm from which our clients can cherry pick elements they would like to develop further, or perhaps steer away from for the more detailed designs. These sketches are then added to a simple themebook, with moodboard images adjusted following feedback and to be more suited to the proposed design path.
To see an example of this, follow this link for some early sketches for a sci-fi themed escape room, focussing particularly on a requested feature for an animatronic character: https://issuu.com/deadwalkdesigns/docs/chronos_one_-_sci_fi_escape_room_-_initial_moodboa?fr=sNWYwYjU2ODg0MDI
Following feedback from the initial concept sketches we can pick out visuals which are headed in the right direction, merging in finer details explored in the previous stage.
The main goal here is to have a small selection of hero images that can be used as a basis for the detailed and 3D designs.
Here we can start thinking about textures, colours and atmospherics which will provide images that can begin to be shared amongst the wider team, or perhaps shared with the public to generate interest at an early stage.
If the experience is going to be an interactive experience or game (such as adventure golf) we will also at this stage start pulling together some quick ideas of how the experience and games could work, thinking of options for mechanics, animations, FX etc.
Follow this link for an example for a Steampunk Themed Adventure Golf: https://issuu.com/deadwalkdesigns/docs/lcag_-_birmingham_-_concept_ideas__01-05-21_?fr=sMDExNjU2ODg0MDI
The next stage of design is to develop a 3D CGI model of the space, which is built to scale using plans, survey information and previous concept illustrations as reference.
During the creation of the 3D design updates will be presented in various stages, from initial rough out of feature positioning and general textures to a final themebook with realistic ideas of lighting, sound and content.
From this model we can provide video fly-throughs and, if required, VR visuals which we find gives our clients as close a representation of how the project will look before the build starts, particularly useful to understand the scale of the experience and identify any potential visitor flow problems.
We find that our 3D designs substantially reduce the risk of mis-understandings common with architectural plans and illustrated designs.
Follow this link to see a full themebook created for an adventure golf Tiki Bar: https://issuu.com/deadwalkdesigns/docs/lcag_hull_-_tiki_bar_first_draft__26-01-20_?fr=sMGY2ZDU2ODg0MDI
With the 3D model in place, we are then able to extract information and dimension detail to provide detailled specs for construction and any necessary approvals.
Elevations and plans can be lifted from the design and the model files can be converted into a number of di erent formats which can then be opened in CAD software.
As everything is built to scale from surveys and initial plan drawings we can cross reference the design to be sure any technical details remain accurate.
Technical drawings are then presented with all previous visuals to create a theme book, a document pack of all the final information needed to be able to send the project to production.
In some circumstances it may be a benefit to have an interactive design, which can be used by in house teams to get a good grip on a project or shared socially as a public experience. Much like a video game, we can take the 3D assets built and drop them into an app which can be shared with the wider team. Experienced using standard computer controls, xbox controllers or viewable in VR. We can also upload to a social networking platform in the metaverse where multiple users can meet in the virtual space, this can be useful if you would like to o er tours of your experience to potential investors. These interactive designs open up a wide range of possibilities with the final experience, such as having a virtual version of the attraction. For example, a real world museum experience could be re-created in 3D and be accessed by digital users around the world.
Watch a video demoing the Digital Twin Environment we built for Lost Horizon in Bristol via this link: https://www.youtube.com/watch?v=X4e8lpj2Zz0
3D MANUFACTURING
Using 3D printing technology, or large-scale CNC manufacturing, we can re-create our digital designs into physical 3D features. Digital printing gives the scope to create items which would otherwise be extremely time consuming, or in some instances, impossible. We can also take our 3D designs and develop a print of the model which can be used for investment meetings or can be displayed on-site as reference during the build. We also work with precision engineers who can create bespoke, high quality parts machined from a variety of metals and hard plastics, which we have used to create animations and movable parts in our props and models.
Once we have a full design in place we cost and schedule the build task by task. As each feature is individually costed it is then easy to see where the budget can be tweaked if savings are needed. Also, by costing this way, (rather than a generic sqm price), we can be sure that the budget is accurate and stretched to fit the best product possible, whilst avoiding any possible complications caused from oversights. We can then get to the best bit, the build!
We work with an amazing team of sculptors, scenics, sign writers, muralists, carpenters and technicians who all put full e ort into making the concepts reality. Our lead designers are also experienced builders and makers, so we can be sure that what is designed throughout the concept is always going to be realistically achievable.
Along with our creative design and build skillsets we work with a variety of partners who can o er services such as soundscapes and e ects, precision engineering, event management and themed smells. Follow this link for a case study for the Wake The Tiger project: https://issuu.com/deadwalkdesigns/docs/dwd_case_study_-_wake_the_tiger_-_summer_2022?fr=sZDEwNjU2ODg0MDI
For more on other projects we have worked on, visit: https://deadwalkdesigns.com/projects/
