MAJOR PROJECT 2 - ENVIRONMENT DESIGN PROGRESS COMPILATION

TAN YING YI / 0362425 / BACHELOR OF DESIGN (HONS) IN CREATIVE MEDIA
MAJOR PROJECT 2
ENVIRONMENT DESIGN PROGRESS COMPILATION


INSTRUCTIONS


CONCEPT EXPLORATION

Initially, due to a misunderstanding, I planned to design the environment as a 19th-century farmhouse. However, after clarifying the story background with my team members, I realized that the setting should be around the 1990s. Based on this updated direction, I began gathering references that align with the time period and gradually built a visual base for the environment.

For lighting, I studied several game references, particularly Little Nightmares. The game often uses a dominant single-color key light supported by subtle secondary lighting to create atmosphere. I intend to adopt a similar approach in my lighting setup to achieve a moody and focused visual tone.

In terms of assets, I further expanded the narrative of the game environment to make it more cohesive. Timothy, the younger brother, deeply misses his sister Cynthia and has been studying summoning rituals in an attempt to bring back her spirit—unaware that he has already succeeded. To support this narrative, I plan to design a ritual altar and a summoning circle, which also serve as the motivation for the player (Cynthia) to appear in the house.

Additional supporting assets include a spell book, handwritten notes, and black salt, indicating that Timothy made thorough preparations before attempting the ritual. Despite his efforts, he was uncertain of the outcome, as even a successful summoning might not bring back his sister. As a precaution, certain areas of the house are lined with black salt and decorated with crosses for protection.

Other environmental elements will focus on storytelling through space, subtly revealing traces of their daily lives and their past relationship.

Fig 1.1 Interior Base References


Fig 1.2 Assets & Lighting References



CONCEPT ART

I planned to design an entire farmhouse. However, due to time constraints, I refined the scope based on my lecturer’s feedback and focused on creating a more polished and detailed living room. I then extended the space to add depth and avoid a flat composition.

At first, I intended to use rendered 3D models as my concept art. However, following my lecturer’s advice, I revisited the process and developed proper concept art illustrations to support and communicate the design more effectively.

CONCEPT ART SKETCHES & MODELING EXPLORATION


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