Environment Design / Assignment 2

28/11/2023 - 19/12/2024 / (Week 11 - Week 13)
Naura / 0356798 / Interactive Spatial Design
GCD61904 / Environment Design
Assignment 2

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INSTRUCTIONS

Assignment 2: Interior Sets and Props (20%)

We are expected to develop and create sets of Interior Designs, each accompanied by an engaging narrative that aligns with and reflects the world we have conceptualized, based on our selected theme. From our world creation proposal, we should focus on several key aspects:

1. Selecting a suitable style and aesthetic that resonates with our theme.
2. Extracting relevant information to inform our design choices.
3. Compiling a visual library that supports our design process.
4. Exploring conceptual approaches that not only convey the intended message but also create a strong visual impact.

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WEEK 11 - 05/12/23

Even though we've only just submitted our first assignment, we need to dive straight into the second one, as a significant portion of our semester was devoted to the initial project.

I've chosen to map out the fighting ring for my interior. Because in the fiery realm of Natlan, the god of war reigns supreme, her influence permeating every aspect of this society's culture and traditions. It is a land where the crackling flames and smoldering earth are not just natural phenomena but symbols of the inhabitants' fervent passion and indomitable spirit.

In the initial phase of our project, the task was straightforward yet foundational: sketch out various perspectives to determine the placement of props within the our interior.

Fig 1.1 Perspective 1

Fig 1.2 Perspective 2

I also gather a simple moodboard to serve as a visual inspiration.

Fig 1.3 Moodboard hall

Fig 1.4 Moodboard Stela

After that, he advised that we should now start greyscaling our final concept for the second assignment, establishing the foundation for further development. Furthermore, he said that next week he wants us to add the mood to it too. To determine the ambience we aim to achieve, we can utilize the gradient tool and overlay it on our finished product. This technique will help us effectively capture and convey the desired mood and tone in our design.

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WEEK 12 - 12/12/23 

Fig 2.1 Greyscale

Fig 2.2 Gradient 1

Fig 2.3 Gradient 2

Fig 2.4 Gradient 3

Fig 2.5 Gradient 4

During the consultation, I presented my gradient work and sought feedback on whether my grayscale approach was adequate. He advised that I should be about using too many colours in a single gradient, suggesting that limiting it to just two colours would be more effective. This restriction, he explained, is important because the primary purpose of the gradient is to convey the mood of the interior. Moreover, He confirmed that my grayscale work was satisfactory.

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WEEK 13 - 19/12/23 

For Week 13, the instructor introduced us to the approach and expectations for the final assignment. Additionally, he generously extended the deadline for our second project, giving us some extra time to refine our work. Unfortunately, this week is particularly hectic due to the simultaneous submission deadlines for three other modules I am enrolled in, adding to the overall workload and challenge of managing my time effectively.

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WEEK 14 - 26/12/23 

Here is the compilation for Assignment 2, a comprehensive collection that encompasses the various stages and elements of my design process for the gladiator hall. This compilation is an  journey through the steps taken to bring the concept to life.

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REFLECTION

In reflecting upon the progression of my work through these assignments, I find myself particularly drawn to this second assignment, favoring it over the first. The journey through the greyscale studies and the exploration of color gradients in this project has provided me with a deeper, more nuanced experience in design and narrative development.

This preference stems from the unique challenges and creative opportunities presented in this assignment. The process of delving into the subtleties of light and shadow in the greyscale phase allowed me to engage with the fundamental elements of art in a way that was both challenging and enlightening. It was a process that demanded a high level of detail and attention, fostering a deeper understanding of how these foundational aspects can dramatically alter the perception of space and volume. 

Additionally, the experimentation with color gradients to convey the essence of of my world was an aspect of this project that I found particularly fulfilling. It was more than a mere selection of hues; it was about weaving emotion and narrative into the visual fabric of the design. The task of capturing the fiery spirit of a land dedicated to the god of war through color was an intriguing and rewarding challenge. It allowed for a level of creative expression and storytelling that was deeply satisfying.