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ENVIRONMENT DESIGN [ EXERCISES ]

   21.04.26 - 14.06.26 / Week 1 - Week 8

Kim Abin 0365392
Bachelor of Design (Hons) in Creative Media / Environment Design / Taylor's University
Exercises


OUTLINE

Instruction

Feedback

  • WEEK 1
  • WEEk 2
  • WEEK 3
  • WEEk 4
  • WEEK 6

Reflection

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    INSTRUCTION



    Module Information Booklet (MIB) of Environment Design


    <iframe src="https://drive.google.com/file/d/1tDLOrZ9T9MvCvFtQ21uOmm46bMDO90vO/preview" width="640" height="480"></iframe>



    Exercise 1: Perspective  drawings

    This exercise required me to choose three real existing objects that were available to me and draw each of them from five different angles with proper volume. 


    Fig. 1.1 Process 1 (Week 1 / 21.4.2026)


    Whenever I draw, I often forget to photograph the process, so I was unable to document the earlier stages. I selected a shampoo bottle, a phone case, and a lint roller, and drew each object from five different angles. I usually work digitally, so I am still not completely comfortable with drawing by hand using a pen that cannot be erased. However, I felt that I gradually learned some useful techniques as I continued drawing.


    Fig. 1.2 Process 2 (Week 1 / 21.4.2026)


    Fig. 1.3 Process 3 (Week 1 / 21.4.2026)


    Fig. 1.4 Process 4 (Week 1 / 21.4.2026)


    Fig. 1.5 Process 5 (Week 1 / 21.4.2026)


    At first, I wondered whether the phone case and shampoo bottle were too easy, so I selected the lint roller for the next drawing. However, while working, I realised that the lint roller was not particularly difficult either. I began to think that an irregularly shaped object, such as a backpack, would have been more challenging to draw.


    Fig. 1.6 Process 6 (Week 1 / 21.4.2026)


    Fig. 1.7 Process 7 (Week 1 / 21.4.2026)


    Fig. 1.8 Process 8 (Week 1 / 21.4.2026)


    Fig. 1.9 Process 9 (Week 1 / 21.4.2026)


    Fig. 1.10 Process 10 (Week 1 / 21.4.2026)


    At the end, I photographed the completed drawings together to keep a record of the work. Some time later, I continued with the remaining exercise tasks, which involved studying and drawing perspective lines. I first studied perspective using photographs from websites such as Unsplash. After that, I drew boxes within one-point, two-point, and three-point perspective grids.


    Fig. 1.11 Final Exercise 1-1 and 1-2 (Week 1 / 21.4.2026)


    Fig. 1.12 Process 11 (Week 3 / 4.5.2026)


    Fig. 1.13 Process 12 (Week 3 / 4.5.2026)


    Fig. 1.14 Process 13 (Week 3 / 4.5.2026)


    Fig. 1.15 Exercise 1-3 (Week 3 / 4.5.2026)


    I did not place the perspective lines directly over the reference photographs because I wanted to draw the boxes independently. Instead, I created new perspective grids and drew the boxes within them. Since I had already studied the overall perspective through the photographs and only needed to place simple boxes within the grids, I did not find the exercise particularly difficult.


    Fig. 1.16 Process 14 (Week 3 / 4.5.2026)


    Fig. 1.17 Process 15 (Week 3 / 4.5.2026)


    Fig. 1.18 Process 16 (Week 3 / 4.5.2026)


    Fig. 1.19 Exercise 1-4 (Week 3 / 4.5.2026)



    Exercise 2:  Value painting

    To practise value painting, I began by drawing a tree and followed the instructions given in class. I used this exercise to practise the basic values of the tree and understand how light and shadow could define its form.


    Fig. 2.1 Process 1 (Week 3 / 4.5.2026)


    Fig. 2.2 Process 2 (Week 3 / 4.5.2026)


    I was slightly unsure whether I was applying the tones correctly, but I continued experimenting as part of the learning process.


    Fig. 2.3 Exercise 2-1 ( Week 3 / 4.5.2026)


    And then I created a simple scene featuring a house and a single tree, focusing on the contrast between light, midtones, and shadows.


    Fig. 2.4 Process 3 (Week 3 / 8.5.2026)


    Fig. 2.5 Process 4 (Week 7 / 1.6.2026)


    I first produced a basic version during class and later returned to refine the forms, tonal balance, lighting, and overall details.


    Fig. 2.6 Exercise 2-2 ( Week 7 / 1.6.2026)



    Exercise 3:  Composition

    Exercise 3 involved creating composition sketches for the building I wanted to design. I wanted to create an astronomy-related building located at the top of a high mountain, so I tried to explore visual ideas connected to this concept. Since I initially wanted to imagine the interior before developing the exterior, I began by roughly sketching a library-like space.


    Fig. 3.1 Process 1 (Week 4 / 17.5.2026)


    After that, I started drawing the mountain and its surrounding environment. However, because I had not yet fully mastered perspective, I created a simple 3D blockout in Blender and used it as a guide to establish the angles and perspective in my drawings.


    Fig. 3.2 Process 2 (Week 4 / 17.5.2026)


    Fig. 3.3 Process 3 (Week 4 / 17.5.2026)


    Fig. 3.4 Process 4 (Week 4 / 17.5.2026)


    I wanted to explore the composition from as many different viewpoints as possible, including high-angle and low-angle perspectives. I also imagined how the building might appear if it were featured in a game or film, considering the possible atmosphere and camera angles. Where possible, I added human silhouettes to communicate the scale of the building and its environment.


    Fig. 3.5 Process 5 (Week 4 / 17.5.2026)


    Fig. 3.6 Process 6 (Week 5 / 22.5.2026)


    Fig. 3.7 Process 7 (Week 5 / 22.5.2026)


    Fig. 3.8 Process 8 (Week 5 / 22.5.2026).


    Fig. 3.9 Process 9 (Week 5 / 22.5.2026)


    Fig. 3.10 Process 10 (Week 5 / 22.5.2026)


    I first added values and lighting to the composition sketches before refining some of the details. Since I am still developing my drawing skills, I felt that the results remained relatively rough rather than highly detailed.


    Fig. 3.11 Process 11 (Week 5 / 22.5.2026)


    Fig. 3.12 Process 12 (Week 5 / 22.5.2026)


    Fig. 3.13 Process 13 (Week 5 / 22.5.2026)


    I also revised the compositions after receiving feedback from the lecturer. As I was told that Project 1 should focus on designing the exterior, I removed the interior composition and concentrated on the exterior building and surrounding environment.


    Fig. 3.14 Process 14 (Week 6 / 25.5.2026)


    Fig. 3.15 Exercise 3 ( Week 6 / 25.5.2026)



    Exercise 4: Photo bashing

    Exercise 4 involved using photo bashing to add details and colours to the composition. I first collected the photographs I wanted to use and then applied various Photoshop effects to integrate them into the composition.


    Fig. 4.1 Collected photos (Week 6 / 31.5.2026)


    Fig. 4.2 Process 1 (Week 6 / 31.5.2026)


    Fig. 4.3 Exercise 4 ( Week 6 / 31.5.2026)



    Exercise 5: Colour management

    In Exercise 5, I completed the composition by exploring different colour combinations.


    Fig. 5.1 Process 1 (Week 6 / 31.5.2026)


    Since I was unsure which colour scheme and atmosphere would work best, I experimented with several variations and selected the versions that I felt were the most successful for submission.


    Fig. 5.2 All Exercise 5: Colour management (Week 6 / 31.5.2026)


    Fig. 5.3 Exercise 5-1 (Week 6 / 31.5.2026)


    Fig. 5.4 Exercise 5-2 (Week 6 / 31.5.2026)


    Fig. 5.5 Exercise 5-3 (Week 6 / 31.5.2026)


    Fig. 5.6 Exercise 5-4 (Week 6 / 31.5.2026)


    Fig. 5.7 Exercise 5-5 (Week 6 / 31.5.2026)



    Exercise 6: Ambiance

    Exercise 6 required me to complete five compositions by developing their ambience. To make the process easier, I first covered each composition with a layer of shadow and gradually erased selected areas to reveal the light. Through this approach, I aimed to create the crisp and refreshing atmosphere of a mountain summit in the morning.


    Fig. 6.1 Process 1 (Week 6 / 31.5.2026)


    Fig. 6.2 Exercise 6 (Week 6 / 31.5.2026)



    Exercise 7: Vignette set design

    The final exercise focused on vignette set design. I selected one section of the building from my previous composition, zoomed in on it, and developed the surrounding environmental elements in greater detail. I first drew the basic structure of the building and then added features that had not been clearly represented in the original composition, including a small garden, an expanded stargazing area, and an additional staircase. These details helped make the space feel more functional and gave a clearer sense of how people might use and move through the environment.


    Fig. 7.1 Process 1 ( Week 6 / 31.5.2026)


    Fig. 7.2 Exercise 7 ( Week 6 / 31.5.2026)



    Final Exercises: Fundamentals of Environment Design

    Final Exercises: Fundamentals of Environment Design


    FEEDBACK


    WEEK 1

    Specific Feedback: No Feedback

    General Feedback: 
    -     Prepare a visual proposal for a stylised or cartoon-style 3D open-world game. It does not need to be realistic, and Tripo may be explored for creating 3D assets.

    - Cultural and architectural elements may inspire the design, but avoid directly copying sacred imagery or focusing on a specific religion or deity. Research ancient buildings from different countries and reinterpret the references carefully.

    - Conduct primary research using actual photographs of relevant and connected locations. Imperfect details, such as an old or damaged door, may contain emotion and suggest interesting stories. Maintain a consistent research direction and avoid overthinking.

    - Bring a wide range of ideation sketches, including one-point and two-point perspective studies. The proposal does not need to show the entire game world yet; a few areas or one well-developed building are sufficient.

    - Consider combining environments, characters, vehicles, and other related elements. Study games such as Apex Legends, Ori, Torchlight, The Witcher, and Monster Hunter, then collect references and produce simple sketches.

    - Use ArtStation and The Rookies for inspiration. If you aim to join a specific studio, study and practise its visual style.


    WEEK 2

    Specific Feedback: No Feedback

    General Feedback: No Feedback


    WEEK 3

    Specific Feedback: Explore different types of doors and entrance designs. Define the function of each building before designing the people who live there, the characters who use the space, and the activities that take place within it. Design ornaments, architectural patterns, and other components with clear meanings that suit the building and its cultural context. Complete the exterior designs before developing the interiors. Consider creating three buildings or structures and fully developing the structural design of each one.

    General Feedback: 
    -     Avoid directly following or copying a particular design. Understand each building’s purpose, its suitability for the environment or season, and the reason for using materials such as wood.

    - The design should be functional and believable. Written explanations may support the concept, but the building’s function should also be clearly communicated through the artwork.

    - Entertainment design does not require the same technical detail as architecture. The mood board does not need to show every angle unless necessary; focus on showing how the space could reasonably function and support movement.


    WEEK 4

    Specific Feedback: No Feedback

    General Feedback: The purpose of developing a concept is to build and communicate a story. Designers should act as visual storytellers, using a strong narrative and world-building to understand and justify their design decisions. Avoid developing the world in excessive detail at the beginning. Establish the overall direction first, then focus on illustrating a specific environment or area rather than the entire world. Every design should visually communicate part of the story and remain consistent with the central concept.


    WEEK 6

    Specific Feedback: Develop the colour and value studies first; interiors and props can be completed later. Move Building 3 slightly closer to the centre of the composition and produce more building iterations.

    General Feedback: Complete all required work before next week’s submission. Do not become overly attached to the initial design; every element should have a clear purpose and support the concept and story. Use Tripo Studio or Meshy only to test ideas and gain 3D inspiration. Do not submit AI-generated 3D designs as final work. Break buildings into manageable components so they can be designed, modelled, and reassembled easily. Create breakdowns and trim sheets showing architectural elements, walls, flooring, patterns, textures, vegetation, and other assets. Keep them simple and practical for 3D production. Develop silhouettes, colour palettes, value studies, and multiple design iterations. Refine promising ideas without overcomplicating or changing the established concept. The composition should have a clear focal point and communicate storytelling. Vehicles may be included to show movement, and any technology should clearly demonstrate how it functions. Study and iterate on the building forms. Establish solid shapes and values first, then use photobashing for textures instead of drawing every surface manually. Carefully observe natural elements such as plants and rocks. Their designs should show believable variation and match the atmosphere of the selected theme.


    REFLECTION


    Experience

    Throughout these exercises, I practised the fundamental stages of environment design, beginning with perspective and value studies before developing compositions, colours, lighting, ambience, photo bashing, and vignette set design. I used an astronomy-related building on a mountain summit as the main concept and explored it from different angles. Perspective and detailed drawing were challenging for me, so I used simple Blender blockouts as guides and continued revising the compositions based on feedback.


    Observations

    I observed that perspective, values, and basic shapes need to be established before adding colours and details. Different camera angles changed the scale and mood of the building, while lighting and colour variations created different impressions even when the same composition was used. Human silhouettes, staircases, gardens, and observation areas also helped communicate the scale and function of the environment. Photo bashing was useful for adding texture, but the photographs needed to be carefully adjusted to fit the composition.


    Findings

    These exercises helped me understand that environment design is not only about creating an attractive building but also about communicating its function, atmosphere, and story. Developing several iterations made it easier to identify stronger compositions, while lecturer feedback helped me remove unnecessary interior ideas and focus on the exterior design. I also learned that establishing a clear focal point, value structure, and purpose for each element is more important than adding details too early. In future work, I would like to improve my perspective and drawing skills and create more varied design iterations before selecting the final direction.


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