VEHICLE AND PROPS DESIGN [ PROJECT 1 ]
22.04.26 - 14.06.26 / Week 1 - Week 8
Bachelor of Design (Hons) in Creative Media / Vehicle and Props Design / Taylor's University
Project 1
OUTLINE
Instruction
Feedback
- WEEK 1
- WEEK 2
- WEEK 3
- WEEK 4
- WEEK 5
- WEEK 7
- WEEK 8
- WEEK 1
- WEEK 2
- WEEK 3
- WEEK 4
- WEEK 5
- WEEK 7
- WEEK 8
Reflection
INSTRUCTION
Module Information Booklet (MIB) of Vehicle and Props Design
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Project 1
Project 1 was developed alongside the exercises, so there were many overlapping parts. I first organised the moodboard for my idea in Canva and created the proposal.
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Fig. 1.1 Process 1 (Week 1 / 22.4.2026)
Following the lecturer’s advice, I created a simple 3D base in Blender because it made drawing with correct perspective easier. I then produced sketches similar to the one shown in Figure 4.4 on the Exercises page. However, although I had written down the feedback that the cabin would move too slowly without wheels, I think I forgot to apply it to the design.
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Fig. 1.2 Process 2 (Week 3 / 7.5.2026)
After receiving the lecturer’s feedback, I continued refining the carriage sketches, as shown in Figure 1.3. Since the previous sketch was still very rough, I initially made small changes to the design. Rather than changing the entire concept, I focused on redesigning the lower section.
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Fig. 1.3 Process 3 (Week 4 / 16.5.2026)
I drew the upper cabin section according to the 3D base and then redesigned the lower section using the robotic-leg moodboard. I had repeatedly received feedback that my sketches lacked functionality, so I hoped that this version would not be rejected.
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Fig. 1.4 Process 4 (Week 4 / 16.5.2026)
Initially, I planned to draw only the carriage without the ibex. However, I thought it would be better to indicate that the ibex would pull the carriage, so I roughly marked its position in red at the front. Developing the lower section had already taken considerable time, and I also needed to complete other assignments, so I decided to continue without drawing the ibex in greater detail.
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| Fig. 1.5 Process 5 (Week 4 / 16.5.2026) |
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| Fig. 1.6 Process 6 (Week 4 / 16.5.2026) |
Because the sketch consisted mainly of lines, the complex lower structure made the overall silhouette of the carriage slightly difficult to understand. Therefore, I added base colours, shadows, and rough values to make the form more readable.
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| Fig. 1.7 Process 7 (Week 4 / 16.5.2026) |
I also added the character that I had designed for Environment Design. Below, I included the same character moodboard and sketching process that I had used in the Environment Design project.
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| Fig. 1.8 Character moodboard (Week 4 / 16.5.2026) |
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| Fig. 1.9 Process 8 (Week 4 / 16.5.2026) |
Although I had continued developing the sketches since the exercises, the lecturer explained that the design still had functional problems. Therefore, I produced more detailed sketches and considered the main idea and robotic legs more carefully. Since the wheel structure seemed complicated, I represented it using a simple 3D base and continued producing quick sketches. Honestly, I was unsure how to prevent functional problems in the design. Since I could not determine a clear solution, I decided that exploring as many different robotic-leg designs as possible would be helpful. I originally wanted to create an unusual carriage, but I felt disappointed that my current skills made it difficult to achieve both an unusual appearance and believable functionality.
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Fig. 1.11 Process 9 (Week 5 / 23.5.2026)
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| Fig. 1.12 Process 10 (Week 5 / 23.5.2026) |
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Fig. 1.13 Process 11 (Week 6 / 26-30.5.2026)
I also added colour to the vehicle. I selected the colours that I thought suited my concept best, using the same palette that I had applied in the Environment Design project.
Fig. 1.14 Rough Sketch & Colour (Week 5-6 / 23-30.5.2026)
Until this stage, the drawings had remained as rough sketches, so I cleaned up the lines and redrew the carriage more clearly. The lecturer also suggested giving the ibex a more robotic appearance, so I refined it according to the feedback. In addition, the lecturer recommended showing how the character would actually sit in the carriage’s cockpit, so I also drew the character in a seated position.
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Fig. 1.15 Process 12 (Week 7 / 6.6.2026)
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Fig. 1.16 Process 13 (Week 7 / 6.6.2026)
Fig. 1.17 Drawing, character design & Colour (Week 7 / 6.6.2026)
After receiving feedback to refine the wheels further, I developed the 3D base in more detail. Elements such as the thickness of the wheels were particularly important, so I concentrated on those areas while modelling them.
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| Fig. 1.18 Process 14 (Week 8 / 10.6.2026) |
Next, I collected a moodboard of frame designs that suited the concept, following the feedback. I then designed the frame based on the moodboard and added it to the carriage cabin. I completed only a simple value study because I was occupied with several overlapping assignments. I decided to keep it simple at this stage and refine it further before the submission.
Fig. 1.19 Moodboard of Frame (Week 8 / 10.6.2026)
Fig. 1.20 Process 15 (Week 8 / 10.6.2026)
After that, I produced the additional sketches required for the Project 1 submission and completed the silhouette studies.
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| Fig. 1.21 Process 16 (Week 8 / 10.6.2026) |
The thumbnail sketches were difficult because I needed to produce a much larger number of designs. However, I was relieved that I had already completed approximately seven sketches. Since I was struggling to generate more ideas, I honestly produced some sketches that did not seem to fit the concept very well. Otherwise, I did not think I would be able to create twenty different carriage designs.
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| Fig. 1.22 Process 17 (Week 8 / 14.6.2026) |
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| Fig. 1.23 Process 18 (Week 8 / 10-14.6.2026) |
Final Project 1: Pre-Production
FEEDBACK
WEEK 1
Specific Feedback: No Feedback
General Feedback:
- Begin the exercises from the first day. Select one or two objects and practise sketching them in a sketchbook using a ballpoint pen. Complete studies of these objects from multiple angles this week. Concept ideas do not necessarily need to be presented from every angle, but observational object studies should be explored from all sides.
- Keep the main focus on vehicle design. Creature design may be included if it is properly balanced with the vehicle component, as focusing too heavily on creatures could move the project away from the purpose of the subject. Mecha design is also acceptable. Look at films, animations and games such as Mad Max, Star Wars, Minority Report and Dune for inspiration.
- Study different types of vehicles designed for water, air and land. Produce some initial sketches, establish a general direction and prepare a simple proposal. Consider developing a theme that can also connect with the Environment Design project. A cartoon style is acceptable, but avoid making the design overly complicated or excessively simple at this stage. Focus on communicating the core idea through elements such as functionality and user accessibility.
- Organise the reference images that inspire the project, combine relevant elements from them and use these references to develop the sketches. Upgrade the computer’s RAM to at least 32 GB to support the required work.
WEEK 2
Specific Feedback: Study perspective more thoroughly. Continue with the current concept and explore it further by developing the carriage design, possibly incorporating a creature. Produce more sketches to test and expand these ideas.
General Feedback on Exercises:
- Simple geometric forms may be blocked out in Blender before drawing, but avoid relying too heavily on 3D. Clearly establish the ground plane when constructing each drawing, as this is important for both the exercises and the development of the project concept.
- Select a vehicle that suits Project 1 and consider how the exercises can support the project. Complete value and lighting studies alongside the perspective and design exercises.
General Feedback on Project 1:
- Establish a clear theme and timeline for the project. Consider developing a character and their background, as this can help guide the design of relevant props. Complete the silhouettes and initial sketches as quickly as possible. Study shape language before adding details, then consider anatomy, form and colour during the later rendering stage.
- If the design includes organic elements, study and draw their real-world forms before developing the concept. For example, research insect anatomy when designing something similar to the insect-like vehicles in Dune. Conduct extensive research and observational studies before drawing. References do not have to come exclusively from films and may be gathered from any relevant source.
- If a real animal is incorporated, create a clear visual or functional connection between the animal and the vehicle. Mechanical designs are also acceptable, but they do not need to be excessively complicated, particularly if that level of complexity cannot realistically be produced in 3D.
- Focus this week on silhouette exploration and the process of developing the concept. Even if the design involves magic, it should still move believably and demonstrate clear usability and functionality. The initial idea may be complex, but it should gradually be simplified and refined into something technically feasible and reasonable. Produce at least twenty exploratory sketches rather than presenting only three options
WEEK 3
Specific Feedback:
- Clearly define the type of character who will use the vehicle. Determine the appearance of the mountain goat, how it will be harnessed to the carriage and how the overall system will function. Prioritise sketching and decide what the carriage will transport, including how much space should be allocated to passengers and cargo.
- Narrow down the theme, as fantasy alone is too broad. It may be combined with science fiction or steampunk, but the direction must be clearly established. Identify the key component that will drive the design, develop at least one concept that incorporates a creature and begin by studying the creature’s anatomy, movement and behaviour.
General Feedback:
- Begin vehicle modelling by starting with basic shapes to establish the overall silhouette, maintaining symmetry by using a centre line and Mirror modifier. Introduce asymmetry only when purposeful. Organise the Blender file with clear names for each asset as complexity grows. Utilise camera views and multiple viewports for alignment.
- Understand vertices, edges, faces, and clean topology, employing tools like loop cuts, insets, extrusions, and Boolean operations as needed. Regularly check the wireframe and use X-ray mode for accuracy. Experiment with different modelling techniques to find the most effective workflow.
- Keep modifiers editable during development; apply them after confirming the model's quality. Avoid excessive active modifiers to limit processing load. Keep subdivision unapplied for smoothness adjustments and use material previews selectively, testing Eevee and Cycles based on quality needs and system performance.
WEEK 4
Specific Feedback: The mountain goat can serve as the vehicle’s main source of propulsion if the carriage uses wheels. Without wheels, the entire vehicle may move too slowly, so consider adding retractable rollers beneath the goat’s feet. These rollers could extend while the vehicle is moving and retract when braking, allowing the legs to make contact with the ground. The idea is promising, but it should be refined further. Remember and apply the feedback that has been given.
General Feedback: Begin the value and material study with a simple form and a mid-grey base, then establish the direction of the light, shadows, highlights and ground shadow before adding colour. Build the metal surface using a desaturated cool base together with warm and cool reflected colours influenced by the light source and surrounding environment. Use masks, layers, suitable brushes, blending modes and opacity adjustments to develop the material, and create contrast between dark areas and highlights so that scratches and textures remain visible. Practise this lighting and material-rendering process for the following week.
WEEK 5
Specific Feedback: The tyre currently resembles a shield rather than a functional wheel, and the lower section looks too much like a pair of legs. The idea and drawings are strong, but the vehicle’s functionality still needs significant improvement. Refine how its components operate and consider whether the goat could be robotic. Develop a colour palette and present the design from multiple angles.
General Feedback: Number every drawing clearly and begin introducing colour into the concepts. Consider what objects or cargo may be carried on the exterior of the vehicle. After establishing an idea, continue studying the vehicle and refining it independently rather than waiting for someone else to provide feedback. Iteration remains important even when pursuing a hyper-realistic design. Show how the driver sits inside the vehicle so that its scale, ergonomics and functionality can be understood.
WEEK 7
Specific Feedback: The design has improved since the previous version, but it would benefit from stronger robotic elements. Show how the character sits in the cockpit and controls the mountain goat. Create a simple 3D blockout to examine the front section more clearly, then begin adding further details. Refine the remaining vehicle components so that they visually correspond with the robotic mountain goat at the front.
General Feedback:
- The purpose of the assignment is not simply to produce attractive drawings. Every design element, including colour, should have a clear function and a reason connected to the story. Use photobashing and lighting to establish the intended mood, and explain why each moodboard image was selected. Sketches and silhouettes should meaningfully explore ideas rather than merely fulfil a numerical requirement. Value studies should improve readability by using light and shadow to clarify the important forms. Add more detail if aiming for a higher mark.
- Do not rely entirely on feedback or wait for further instructions before developing the work. Retain the existing concept and use quick sketches and simple blockouts to visualise and refine improvements instead of unnecessarily starting again. When using demanding software such as Substance Painter, close other applications to maintain stable computer performance.
WEEK 8
Specific Feedback: The basic functionality of the vehicle is already established, so focus on refining its design and presentation. Add more robotic, clockpunk-inspired frames and ornamental details to the carriage, using further visual research to guide the design. Correct the value structure and apply gradients to create clearer volume, separation and readability. Redraw the mechanical goats so that their bodies and legs follow the perspective and ground plane of the carriage correctly.
General Feedback: Project 2 will focus on designing an interior environment.
REFLECTION
Experience
Project 1 focused on the pre-production development of a clockpunk carriage connected to my Environment Design concept. I began with a moodboard and proposal before creating a simple 3D base, silhouette studies, thumbnail sketches, colour studies, character designs, and mechanical frame variations. The main idea gradually developed into a carriage pulled by robotic ibexes and used by a scholar-priest character. Throughout the project, I repeatedly revised the wheels, robotic legs, cabin, frame, and driver’s position in response to feedback about functionality.
Observations
The greatest challenge was balancing a distinctive visual design with believable functionality. Some sketches had interesting silhouettes, but the operation of the wheels, robotic legs, cabin, and ibex connection was not always clear. I observed that the 3D base helped me understand perspective, wheel thickness, and the relationship between different components. Showing the character seated inside the carriage also made its scale and usability easier to understand. However, I sometimes concentrated on producing visually unusual ideas before resolving how the vehicle would move, steer, stop, or carry passengers. I also spent time producing the required number of thumbnails, although not every variation meaningfully developed the concept.
Findings
I learned that the mechanical system and user experience should be established before adding decorative details. In future vehicle projects, I should define the driver, passengers, cargo, propulsion system, steering, braking, and connection between the creature and vehicle at an earlier stage. Quick diagrams, multiple views, and simple 3D blockouts could then be used to test these functions before refining the final design. I should also record feedback as a checklist and apply it consistently rather than waiting until later revisions. Better time management would allow me to produce more purposeful variations and reserve enough time for line work, value, colour, and final presentation.
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