Environment design GCD61904/Exercise
Environment design
GCD61904/Exercise
LIU CHENG RUI (0370930)
GCD61904/Environment design/ Bachelor of Design (Hons) in Creative Media / Taylor's University
INSTRUCTION
EXERCISES
1.Perspective
One-point perspective
Two-point perspective
Three-point perspective
Four-point perspective
2.Composition
Composition 1
Composition 2
Composition 6
Composition 7
3.Value painting
Value painting 1
Value painting 4
Value painting 5
Value painting 6
Ambience 1 Sunset Desert
Ambience 3 Sandstorm Canyon
Fig6.5 Ambience 4 Eerie deep blue
5.Color management
The color of the modified building
The color of the building and the environment before modification
6.Vignette set design
vignette 1
vignette with color
7.Photo bashing
Photo bashing
FEEDBACK
week3
You did some perspective exercises, which is great. But be aware that the horizon positions of some of your perspective exercises are incorrect, including vanishing points.
REFLECTION
Experience
In this environmental design exercise, I completed training in multiple aspects ranging from perspective, composition to atmosphere and color management. Through these phased exercises, I gradually came to understand that environmental design is not merely about drawing a scene, but rather about integrating spatial structure, light and shadow, color with narrative emotions. Especially in vignette (small scene) design, I learned how to integrate previous knowledge within a limited frame to make the scene more cohesive and expressive.
Observation
Through repeated attempts, I found that perspective remains the part I need to consolidate the most. The teacher pointed out my mistake in the position of the horizon and the vanishing point, which made me realize the importance of basic accuracy. Meanwhile, the practice of color and atmosphere has made me more sensitive to the existence of the "airiness" in the picture - even the slightest changes in light, shade and color temperature can affect the mood of the space.
Findings
I have noticed that my composition habits tend to be safe and symmetrical, lacking some bold dynamic elements. In addition, there are still unnatural aspects when dealing with the integration of near and far levels and the environment. Overall, this practice has enabled me to see more clearly that environmental design is a continuous process of revision and integration, and has also taught me to examine the relationship between space, light and narrative in a more systematic way.
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