Winter 2022 | March 15
Process documentation | WIP GDVX 791 THESIS II | PROF. RHONDA ARNTSEN
YUE DONG
CATALOGS
CATALOGS
01
Introduction
08
Visual Experimentation
02
Overview Thesis I
09
Pefer Visual Experimentation
03
Research
10
Thesis III Referenceable Design
04
Development Directions
Outline Annotated Bibliography
11
Reflection
06
First Draft
12
Reference
07
Final Draft
05
INTRODUCTION
INFORMATION
YUE DONG
Melissa Kuperminc
Michael Mikulec
Sam Eckersley
M.F.A Degree Candidate
Committee Chair
Committee Member
Committee Member
GDVX
GDVX
GDVX
GDVX
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PROCESS DOCUMENTATION 3
Live Paper Draft：https://docs.google.com/document/d/1ZVlREZdnsOkBanr5oNuGPgG76OIbVFli60CGJYRDzMM/edit Live Outline Draft：https://docs.google.com/document/d/1_MnSq3ZwLhL8dgY8WDQFaD9afhEoEsrTJEGLTP3yNOo/edit Live Bibliography Draft：https://docs.google.com/document/d/18w0oN8Uj5HZtqQ4jQSMV8ogNVjPceKPQIoEWAYj1uw4/edit
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OVERVIEW THESIS I
ORIGINAL THESIS STATEMENT
The advent of the digital age and the continuous development of technology have shifted people's aestheticrequirements from two-dimensional to three-dimensional, and from one-way passive reception of information to two-wayinteractive autonomy, which to a certain extent has affected graphic design and exposed its limitations. Taking VRtechnology as an example, we analyze the development of VR technology, the application of VR technology in the field ofvisual communication design, and the impact of VR technology on graphic design to discuss the importance oftechnology on the artistic expression of visual communication.
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REVIEW THESIS I
In Thesis I, I thought a possible direction was to
Discussion
Exploration
Plugins
Work Shareing
Cross-Border Cooperation
build a web section for technical communication, but I found this direction to be more focused on 3D design and technical development, and a bit off-
Online collaborative VR space building Multi-disciplinary real-time collaboration Break the time/space limit
topic for graphic design development. With the concept of the metaverse being brought to life by
Join us
Facebook in October 2021, I felt compelled to shift the focus of my thesis back to the impact of new technologies on graphic designers.
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RESEARCH
NEW TOPIC
The Role Of Graphic Design In Virtual Space & Metaverse: Current Status & Future Possibilities
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NEW TOPIC
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DRAFT OPPORTUNITY STATEMENT
Findings on the rise of virtual space technology and the concept of metaverse suggest a more unique visual & spiritual experience when people have access to a shared virtual world environment via the Internet, rather than simply viewing it. This will change the way we socialize, work and play and bring more opportunities for graphic visual design.
This paper will introduce the role of graphic design in the visual experience and interaction of laminar users in virtual spaces by considering three different questions - how does graphic design collaborate and apply across borders in virtual reality? How can collaborative approaches to design be improved for application in virtual reality to accelerate the progress of visual experimentation? What challenges do graphic designers face in designing interactive interfaces and visual representations for virtual reality spaces and audiences?
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NEW PROBLEM STATEMENT
The advent of the digital age and the continuous development of technology have shifted people's aesthetic requirements from two-dimensional to three-dimensional, and from one-way passive reception of information to twoway interactive autonomy, which to a certain extent has affected graphic design and exposed its limitations. Taking VR technology as an example from the technical level, we analyze the development of VR technology, the application of VR technology in the field of visual communication design, and the impact of VR technology on graphic design. From the conceptual aspect taking the Metaverse concept as an example, we explore the possible development trend and potential of graphic design in the new industry field, and the professional transformation that graphic designers can do in the changing times. In this way, the importance of technology to creative fields such as visual communication and society at large is explored.
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NEW RESEARCH | MIRO
Brainstorm, find rich design entry points and research methods, propose research questions based on the research directions found, and plan and discuss interview questions.
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PARTS LINKED TO THESIS
I have divided my initial research into 4 sections that could possibly be used in my papar and used as arguments. These include future trends brought by the metaverse, the current role of COVID-19 in advancing metaverse technology, what designers can do in the metaverse today, and interviews for different usersj.
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NEW RESEARCH DIRECTIONS | IN-DEPTH
Features related to graphic design, directions that can be developed in depth.
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INDUSTRY CONSULTING | Technology Development Process & Cases
01
02
03
PC Internet era
Mobile Internet Era
Metaverse
In 1998, people finally got rid of their doubts about the
In 2008, along with the rapid development of only cell
The meta-universe is a full-sensory, human-computer
success of the Internet, and the situation of the current
phones, the Internet flew to integrate wireless devices
interaction system supported by four important
era has commonality. The Internet was no longer an
and underwent development in terms of services and
elements: Blockchain, Game, network, and display.
idea that remained only in the experimental stage, but
content, beating traditional paper and TV and replacing
began to penetrate into all walks of life and industries.
phone calls and SMS. The Internet not only redefined itself, but also changed the way of life that humans had long been accustomed to.
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DATA / CHARTS
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DATA / CHARTS
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NEW RESEARCH DIRECTIONS | IN-DEPTH
Civilization Identity
Features related to graphic design, directions that can be developed in depth.
• User Identification
Friends / Social
Economic System
• Social / Personal Branding • Immersive Experience Metaverse
• Civilization：Digital World / Mapping the Real World • Building the structure of the trading economy system Immersion / VR
Anytime, Anywhere
Low Latency
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Diversity
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INTERVIEWS
During the initial research phase, I divided the users to be interviewed into three sections. Ordinary people, art practitioners, and tech industry practitioners. Different questions were set for different interview groups for discussion.
I wanted to understand how quickly the concept of metaverse spread, and people's inherent impressions of the concept, is there any bias? To collate the different perceptions of the development of the technology, both positive and negative.
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QUESTIONS OF THE QUESTIONNAIRE
Link to questionnaire： https://forms.gle/nSx1zkXQ5wBwEP9L8 This questionnaire serves as an introduction to the general public's awareness of the concept of metaverse, and refers to each other's backgrounds to set a more specialized user group for the next interview.
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INTERVIEWS
Interviews with 3 art practitioners
Interviewees：
• Shi Yubin ｜Artist, curator, NFT creator • Niq｜Young designer, 3D encryption artist • Simon｜Co-Founder and Director of DesignJoint
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INTERVIEWS
Specific questions and directions for discussion.
• What impact do you think it will have on your industry?
Q: If I can access the platform to register, all I need to do as an artist is to upload my
• Impressive event/case? Why?
work and the front-end will do the contract delivery for me?
• Does NFT art have an impact on traditional art? What does NFT bring to the creative field?
Q: In reality, authenticity is important for a work of art, so how do you determine if an
• How do I own "virtual art”?
NFT work is real among digital art? Does the concept of authenticity exist?
Q: Now when we buy NFT, we own it. In fact, many NFT works can be downloaded in their entirety, and it has as much use value as it does viewing value, so why should I
Q: Since we have uploaded the NFT works and they are publicly accessible on it, can
buy it?
anyone use NFT for exhibitions? If it's just for display, don't I need to get authorization
• Is there a high threshold to get started with NFT art?
from the author? Since the ownership is already publicly available, I just need to link
Q: As a general 3D art or digital artist, if I want to register my work to NFT, or turn it into
the works according to the theme I envision and then make the link available to all
an NFT work, what would be the technical requirements? What exactly should I do?
users as an exhibition. 、
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INTERVIEWS
Q: Now that we say we are talking about NFT artists, why do you think it is now all about NFT artists and not about designers?
• Has NFT redefined the value of art? Q: Based on the current situation, it seems that the threshold for making NFT works is not high, and with the case of "making a lot of money from avatars", it makes you
Q: Now that we say we are talking about NFT artists, why do you think it is now all
wonder if the value of art will be diluted in this era.
about NFT artists and not about designers? Q: Are the social and identity attributes of NFT greater than its own artistic attributes? Q: In the past, when we talked about an art work or an artist, we talked more about the work, such as its approach, aesthetics, cultural background, or historical background, etc. But in the context of NFT, people seem to discuss the price of the work more than the artwork itself, how do people see this current situation?
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Example
The metaverse will revolutionise the way we experience the internet. Our tangible, physical world will become increasingly mixed with the virtual.
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Example
How important is the metaverse to the future of art? The metaverse is the proverbial perfect storm of experiential technology poised at the juncture of art, entertainment, social media and crypto currency. It has the potential to revolutionise the art world. Storage, location, display, transparency, authenticity and accessibility are the stumbling blocks to experiencing or owning fine art. The metaverse provides a platform for creators, commentators, critics, galleries and collectors to transcend all of these issues. The experiential immersion of connected XR experiences is an epochal shift that is orders of magnitude greater than the current relationship between tech and art. The metaverse presents a possible future where creators, gallerists and collectors can actually interact in a space untethered from their physical location. In keeping with tradition, collectors can accumulate art that reflects their personal aesthetic and as stores of generational wealth. Except that, in the metaverse, they can share that art with all netizens—not just a select group in their town. Artists get access to larger marketplaces and collectors still get to “flex” with their personal metaverse museums. Ideally, authentication is solved by blockchain protocols where ownership and pricing are transparent.
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KEYFINDING & THOUGHTS & FREE WRITING
• The design of the metaverse era will reconstruct the value system of design products.
• Collaboration of designers and developers.
In the era of metaverse design, design objects have been separated from their own
To explore and experiment, peek into the real user experience feeling, beyond the
physical external embodiment, and the traditional material value and product value
current era of user feedback, texture to explore the possibility of design
carried by objective objects have been replaced with a more diverse and long-lasting way
optimization.
to complete the metamorphosis with products that break through the boundaries of space and time.
• Designers must have the ability to express design ideas across media. Modal environment: information channel, visual, auditory, tactile, olfactory + real
• The design of the metaverse era will promote the metamorphosis of production methods.
world projection + virtual space digital space of 10+ dimensional elements. The
With the participation of 5G and metaverse concept technology, design is bound to
designer should consider the possibility of constructing the work to involve and
develop in the direction of comprehensive technology and data. The digital assets left by
co-construct others in the early stages of the work. It is a kind of interactive
virtual 3D design are the foundation, and brand design can extend this content, expand
relationship, vision in the future must be interactive, with higher intelligence,.
and apply to different scenarios and needs.
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OUTLINE
PRELIMINARY OUTLINE
Since the topic of metaverse is a new one, the current references are a small number of books and papers, and some industry reports from technology companies, trend analysis. As well as annual summaries and news reports from some consulting firms.
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PRELIMINARY OUTLINE
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PRELIMINARY OUTLINE
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ANNOTATED BIBLIOGRAPHY
ANNOTATED BIBLIOGRAPHY
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ANNOTATED BIBLIOGRAPHY
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FIRST DRAFT
PRELIMINARY DRAFT OF THESIS
Amelia Isbell Leicht
little relevance to VR technology. But the development of digital software has made it
Professor Rhonda Artsen
possible for graphic designers to create in three dimensions. There are also graphic
GDVX 791 - Winter 2022
design works in the 2.5D style, which is somewhere between 2D and 3D. With the
February 7, 2022
introduction of the metaverse concept in 2021, the impact of this technological change on the design industry is once again a hot topic, meaning that the metaverse is the next
The role of graphic design in virtual space & metaverse: current status & future possibilities
windfall for design practitioners. At present, graphic design rules can lead the effective design of virtual space. VR technology has three characteristics of immersion, interaction and imagination make graphic design combine with it, and there are more possibilities
Since ancient times, art and design have been closely related to science and technology,
to try in expression and artistic expression.
and the progress of science and technology has been driving the development and progress of design. In today's digital era, paper, the traditional medium of graphic design, is gradually losing its important status, replaced by new media - mobile devices,
I. The impact of scientific and technological development on the design
computers, television, the Internet and other digital media, which requires graphic
industry ( content needs to be organized )
design to also This requires graphic design to change accordingly in order to adapt to
Design has always been influenced by developments in science and technology. With
the new mediums that have changed. VR (Virtual Reality) technology is an emerging
changes in techniques, materials, tools, etc., technology has a direct impact on design
technology supported by computer systems and sensor technology in recent years. It
creation. And design blossomed after the industrial revolution, which makes it inevitable
can create a three-dimensional virtual reality space, supported by computer technology,
to think about the profound relationship between design and science and technology.
sensing technology, simulation technology, artificial intelligence technology and other
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high-tech, with VR glasses, control handles and other sensing devices, simulating a
The birth of new technology will promote the development of design - the example of
three-dimensional virtual reality world, in order to bring the user immersive immersion
copper plate technology. The invention of copper plate photographic technology in
and interactive experience (Richard, 2000). For graphic design, which is generally
1930 made photography take a definite place in advertising design from then on, and
considered to create works on a two-dimensional plane, graphic design seems to have
photography became the basis of today's photographic design. The emergence of film
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PRELIMINARY DRAFT OF THESIS
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PRELIMINARY DRAFT OF THESIS
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PRELIMINARY DRAFT OF THESIS
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PRELIMINARY DRAFT OF THESIS
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PRELIMINARY DRAFT OF THESIS
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PRELIMINARY DRAFT OF THESIS
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PRELIMINARY CONCLUSION
How The Metaverse Will Redefine Graphic Design
• How the metaverse is redefining how we live • Breaking new barriers with graphic design • Visualize avatars Essence: Identification Building a personal brand
• Immersive virtual environments The essence: social media advances Ways to use technology: immersion Changing the way you market Designers have had to adapt their current approach to design
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FINAL DRAFT
Final draft of thesis
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Final draft of thesis
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Final draft of thesis
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Final draft of thesis
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Final draft of thesis
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Final draft of thesis
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Final draft of thesis
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Final draft of thesis
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Final draft of thesis
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Final draft of thesis
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Final draft of thesis
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Final draft of thesis
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Final draft of thesis
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Final draft of thesis
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Final draft of thesis
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Final draft of thesis
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Comments / suggestions / revision directions
Some of the changes can be found in the Live documentation. Still in the process of continuous improvement.
https://docs.google.com/document/d/ 1ZVlREZdnsOkBanr5oNuGPgG76OIbVFli60CGJYRD zMM/edit?usp=sharing
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VISUAL EXPERIMENTATION
Visual experimentation & style overview
Create virtual spaces that do not exist
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Mapping the real world
Explore designers ? humans in the future
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VISUAL EXPERIMENTATION & STYLE 1
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VISUAL EXPERIMENTATION & STYLE 1
Physicalization of sketch elements, construction of a three-dimensional sense of space, simplification of visual elements
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VISUAL EXPERIMENTATION & STYLE 1
Physicalization of sketch elements, construction of a three-dimensional sense of space, simplification of visual elements
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VISUAL EXPERIMENTATION & STYLE 2
Increase the use of some 3D virtual elements in realistic scenes.
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VISUAL EXPERIMENTATION & STYLE 2
Referring to the concept of mapping real world objects in a metaverse, the visual representation using the real world is transformed into digital content. A new visual effect and experimentation is developed.
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VISUAL EXPERIMENTATION & STYLE 2
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VISUAL EXPERIMENTATION & STYLE 3
Based on what people can do in the future and whether the designer function will be replaced by artificial intelligence. In fact I am not satisfied with the visual performance of this version. But my mind was more open in exploring this part, and I wanted to use some visual elements that express the design itself, using different effects to emphasize how the rich visual elements might be represented in the virtual space.
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VISUAL EXPERIMENTATION & STYLE 3
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VISUAL EXPERIMENTATION & STYLE 3
Based on what people can do in the future and whether the designer function will be replaced by artificial intelligence. In fact I am not satisfied with the visual performance of this version. But my mind was more open in exploring this part, and I wanted to use some visual elements that express the design itself, using different effects to emphasize how the rich visual elements might be represented in the virtual space.
This visual style is not often seen in real life and is mainly based on human fantasy and the exploration of future trends.
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PEFER VISUAL EXPERIMENTATION
CONSIDERATIONS & LIMITATIONS
• Cost Limitations • Technical limitations
• Currently in the bottleneck period of Internet technology, meta-universe technology is not yet supported by hardware devices and is in a transitional period.
• The design content may need to take into account the practicality of the current product, rather than a completely innovative conceptual product.
• In addition to VR and AR, mobile devices with cameras can be considered to build pseudo-3D visuals.
• Pay attention to keeping the user focused on the product platform.
• Focus on showing the identity system and transaction system at the core of the metaverse.
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PEFER VISUAL EXPERIMENTATION
• Building brands: virtual tools/products • Build a social platform and trading platform for virtual space
• Social & trading rules based on the current Internet
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MOODBOARD
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TYPEGRAPHIC
Roboto One of the best fonts for applications, with a large and variable font family. Good performance in screen display. The rounded edges have a gentler temperament. Good acceptance by general users. Accurate and neutral in conveying information.
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COLOR SELECTION
The secondary colors are the contrasting colors of the main colors, orange and light blue, using brighter and more popular colors by the target audience, which can be used to accent & emphasize the message.
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COLOR SELECTION
Keeping the neutral color keeps the Technological sense. At the same time these colors can help refine the design details.
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BRAND LOGO
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BRAND LOGO
Next
• Improve brand architecture • Secondary sorting of the platform user population • Build interface design • Potyotype
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Thesis III Referenceable Design Development Directions
REFLECTION
REFLECTION
For thesis and design In fact this semester I am not satisfied with my development process and the results of these attempts. As the feedback mentioned by the professor, I also think I seem to be visually limited. But there are also considerations of user acceptance during the transition to the current era. I'm not sure I should discard this visual style to build a new one.
The part I'm more satisfied with is that I found a practical and commercially viable solution to build the user's exploration of future technologies. I also think this is an inevitable trend. With the current mobile Internet trend slowing down, for example, global mobile device sales declining in 2020 compared to 2019, the market has to find a new space for development, and the human upgrade from two-dimensional interaction to threedimensional interaction has reached a turning point.
I want to continue to experiment with this format and explore what users care about and need in the future social and transactional models, and what we can create for them as graphic designers. What kind of needs are users willing to consume until they are built? What else can visual designers do besides the development of NFT?
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REFLECTION
For this semester's schedule
So what should I do next?
I am also reflecting on my personal poor decisions about planning and scheduling
Use my vacation time to continue to compile article results
this semester. This includes little communication behavior with my tutor.
Refine the structure of the essay, continue working on thesis III, and actively communicate with my advisor. 2022 Spring is theoretically my last semester and I
The general reasons for the slow pace of my work so far are：
should only have one Thesis III course, which means I have more time to focus on the design of the Thesis.
The change of topic and the need to re-collect information for research has slowed my progress in the early part of the semester. Since I got an internship and another part-time design job, it is one of the major reasons why I did not allocate my work time and study time wisely. It is also my subconscious avoidance of studying because of the pressure of Thesis.
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In the event that I really can't finish on time, I can consider applying for an extension for Thesis III, which I have learned from Ad so far, can be completed over 2 semesters.
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REFERENCE
REFERENCE
Bakk, Ágnes K. "VR as a Narcissistic Medium." Acta Universitatis Sapientiae. Film and Media Studies, vol. 17, no. 1, 2019, pp. 157-167. Belisle, Brooke. "Whole World within Reach: Google Earth VR." Journal of Visual Culture, vol. 19, no. 1, 2020, pp. 112-136.
Berger, Jonah. Contagious: How to Build Word of Mouth in the Digital Age. Simon & Schuster, 2014.
Brown, Richard D. “Virtual Unreality and Dynamic Form: An Exploration of Space, Time and Energy.” Leonardo, vol. 33, no. 1, 2000, pp. 21–25. JSTOR, www.jstor.org/stable/1576757. Coleman, Viviana. Visual Experiences: A Concise Guide to Digital Interface Design. CRC Press, Boca Raton, 2018.
Davis, Meredith. Graphic Design Theory. Thames & Hudson, 2012.
Ellis, Matt. “How to Design for Virtual Reality: Basics and Best Practices for VR Design.” 99designs, 1 Mar. 2019, 99 designs.com/blog/trends/virtual-reality-design/.
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Eroglu, Sevinc, et al. "Rilievo: Artistic Scene Authoring Via Interactive Height Map Extrusion in VR." Leonardo (Oxford), vol. 53, no. 4, 2020, pp. 438-441.
Fussell, Grace. “10 Ways Virtual Reality Is Changing the World of Design.” The Shutterstock, 19 July 2021, www.shutterstock.com/blog/virtual-reality-changing-world-design.
Holger, Dieter. “This Is the First 360 App to COMBINE Graphic Design and VR.” VRScout, 9 Aug. 2017, vrscout.com/news/360-app-vr-graphic-design/.
Katan-Schmid, Einav. "Playing with Virtual Realities: Navigating Immersion within Diverse Environments (Artist-Led Perspective)." Body, Space & Technology Journal, vol. 19, no. 1, 2020, pp. 224.
Latham, William, et al. "Exhibiting Mutator VR: Procedural Art Evolves to Virtual Reality." Leonardo (Oxford), 2019, pp. 1-14.
Llobera, Joan, et al. “Telling Stories within Immersive Virtual Environments.” Leonardo, vol. 46, no. 5, 2013, pp. 471–476., www.jstor.org/stable/43834079.
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REFERENCE
Lu, Lilly. “3D Virtual Worlds as Art Media and Exhibition Arenas: Students' Responses and Challenges in Contemporary Art Education.” Studies in Art Education, vol. 54, no. 3, 2013, pp. 232–245. JSTOR, www.jstor.org/stable/24467862.
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GDVX 791: WIP PROCESS DOCUMENTATION
YUE DONG | WINTER 2022
Thank you.
GDVX 791: WIP PROCESS DOCUMENTATION
YUE DONG | WINTER 2022