360 Content

For the 360-degree content task, I designed and rendered a fully immersive 3D environment in Blender, choosing to create a prison cell scene. I wanted to go beyond simply following the tutorial or example provided, so I built and several of the main assets myself, including the bed, window bars, and smaller objects around the cell. I chose this confined setting deliberately because working with a limited space meant I could concentrate more on the core principles of 3D environments—the lighting, atmosphere, and realism.

From the beginning, my goal was to make the space feel believable but also emotionally heavy. I used basic compositional and lighting principles to give the scene a distinctive tone. The main light source was a sunlight asset, providing ‘daylight’ filtering through the barred window, which casted shadows across the floor. I paired this with a ceiling point light to simulate the artificial glow often seen in real prison cells. The combination helped to soften the darker areas whilst still maintaining a slightly moody atmosphere. Getting the balance right between natural and artificial light took a lot of trial and error, but it also helped me better understand how light direction and intensity can completely alter the emotional tone of a 3D environment. The walls and the floor textures were found for free online, I tried to find a worn and rustic textures for both the wall and the floor to reflect realism. 

When it came to camera placement, I applied immersive UX principles related to embodiment and proximity (Sahu, 2025). I set the viewer’s perspective at around human height, giving them the sense of physically standing inside the cell. This choice was really about evoking empathy and discomfort, two feelings that are quite impactful when exploring themes like imprisonment and confinement.

I realised during the process that even without any animated characters, dialogue, or narrative, the environment itself can tell a story. The positioning of objects, the texture of the walls and the way the lights have been set up all work together to create a mood. This is what’s known as environmental storytelling, and it’s something I’ve grown to appreciate much more after completing this task.

This 360 environment could easily fit within a story sphere or interactive documentary, as it invites reflection on broader social issues. I can imagine using it in an educational or social justice context, where viewers could explore the emotional reality of imprisonment in a safe but thought-provoking way. If I were to develop it further, I’d love to add interactive elements such as moving assets, ambient sounds (like footsteps or cell doors closing) or even a brief narrative voiceover to make the experience more dynamic. This task definitely improved my confidence in Blender, particularly in lighting and atmosphere design, and gave me a foundation of skills I can build on for future projects.

WebVR

https://framevr.io/aplacetoremember

For the WebVR task, I created an interactive virtual gallery using FrameVR, a web-based engine that enables users to explore and present in 3D spaces directly through their browsers. I chose this environment to showcase two of my previous projects—one with a 3D model, and the other with a logo design sequence, allowing me to present my work in a more engaging and interactive way than a traditional portfolio.

FrameVR supports a variety of media formats such as videos, images, and 3D models (Benham and Budiu, 2022). This made it possible for me to combine static and moving content to form a multi-media experience. I arranged my assets using spatial hierarchy, giving each project its own dedicated section with clear sightlines so visitors could intuitively know how to navigate.

A big part of this task involved thinking like a curator rather than just a designer. I had to decide where users would spawn, how they would move through the space, and what they would see first. These decisions were guided by principles of immersive UX and spatial narrative (Sahu, 2025). I added a few interactive features such as clickable videos and a magnifying glass tool so users could zoom in on smaller details. Additionally, I imported a 3D model of an energy drink can from a previous project and applied a gentle rotational animation. It’s a small detail, but it helped to bring a sense of movement to the gallery without becoming a distraction. This subtle use of motion reflects Eriksen’s (2023) point that animation should enhance engagement rather than overwhelm it.

Creating this gallery taught me how digital portfolios can be more than just a bunch of images and that they can be turned into immersive storytelling spaces. I noticed that giving users the freedom to move around and explore encouraged curiosity. Some might spend longer looking at one project than another, which makes the experience more personal. It’s also interesting how translating 2D work into 3D environments changes its impact. For instance, my flat logo design felt more substantial when placed in a three-dimensional setting.

If I were to continue developing this, I’d like to turn it into an online exhibition space that could be used for professional showcases or even client presentations. The biggest challenge was balancing visual aesthetics with usability—making sure users could navigate easily without feeling confused or distracted. In this task I learned a lot about how digital spaces can convey identity and personality just like a physical gallery would.

Augmented Reality & UX

For the Augmented Reality (AR) task, I decided to take a more playful approach by designing a mobile-based prototype in 8th Wall, where users can throw a virtual ball at 3D objects to score points. My main inspiration came from gesture-based games like Pokémon GO, where the user throws a ball to level up or achieve something.

The interaction would be simple: users tap or swipe on their phone screen to throw the virtual ball, while moving their device to aim at the target objects. As for this task though, I focused on the physics and the basics of this prototype. I paid particular attention to user safety and ergonomics which is a key part of UX design. Since the experience uses the device’s camera to overlay digital content onto the real world, users can still see their surroundings, which helps prevent motion sickness or accidental collisions. This aligns with Eriksen’s (2023) recommendations around maintaining freedom of movement in immersive UX.

The prototype demonstrated how AR can be used not just for entertainment but also for social and physical engagement. I could see this concept evolving into a multiplayer mobile game where users compete in real-world settings, turning any open space into a bowling alley. Visually, I made sure the scene had bright colours and clear contrasts to keep the focus on the action. This minimalist approach would be something I’d like to carry forward if was to continue this, as it maintains accessibility while enhancing immersion.

Overall, this project deepened my appreciation for user experience design in AR—particularly the importance of balancing realism with usability. AR’s strength lies in its ability to merge the digital and physical worlds together, and even a simple prototype task like this shows how creative and interactive it can be. 

VR Art

The VR Art task, created using Open Brush, was one of the most creatively freeing part of this series of tasks. Working in a virtual 3D drawing space offered a completely different way of thinking about art and storytelling. Instead of being limited to a flat canvas, I could draw in mid-air, surrounding myself with designs and vibrant colours.

At first, I focused on getting used to the controls and experimenting with different brushes and effects. I started by sketching simple objects—a house, a car, a few abstract shapes, mainly to test how perspective worked in three-dimensional space. One of the biggest challenges I encountered was depth alignment. Without a physical reference point, it’s surprisingly easy to misjudge distances, leading to parts of the drawing overlapping in strange ways. However, over time, I developed a better sense of spatial awareness and hand-eye coordination, which are both crucial for immersive design work (Chang, 2025).

The second time I had the VR I decided to draw a house again, this time learning to try and improve the depth alignment and make a little scene. I used the table as a level so the floor was guaranteed to be straight. 

What I found most interesting about this task was the emotional experience of creating in VR. Being inside the artwork gave me a sense of presence that’s hard to achieve in traditional digital work. Mistakes felt less frustrating because they could be fixed instantly, and I had no limit on where I could draw. This sense of embodiment and freedom aligns closely with what Polydorou (2024) describes as the connection between immersion and emotional engagement in VR storytelling. This exercise really reinforced how VR art can merge creative intuition with UX design principles, encouraging artists and designers to think spatially rather than flatly.

Conclusion

Across all four tasks—360 Content, WebVR, AR & UX, and VR Art—I’ve learned how immersive technologies reshape the way stories can be told and how experiences are designed. Each tool brought new challenges but also new ways to connect creativity with technical understanding. These tasks have strengthened my confidence in using immersive tools and have shown me how technology can be used to create meaningful, engaging, and emotional experiences. Looking ahead, I’d like to continue exploring one of these four tasks and use them to help me create a final project for this module – this being AR & UX. I believe AR is the perfect tool for me to use as a graphic designer because it allows me to combine my 2D skills and illustrations from Photopshop and Illustrator etc. with my 3D skills from 8th Wall to create interactive material.

References

Behnam, S. and Budiu, R., 2022. The usability of augmented reality (AR) [online]. Nielsen Norman Group. Available at: https://www.nngroup.com/articles/ar-ux-guidelines/ [Accessed 25 October 2025].

Chang, S., 2025. The impact of digital storytelling on presence, immersion and user experience in VR [online]. MDPI Sensors. Available at: https://www.mdpi.com/1424-8220/25/9/2914 [Accessed 25 October 2025].

Eriksen, M., 2023. 6 UX design principles for augmented-reality development [online]. UXmatters. Available at: https://www.uxmatters.com/mt/archives/2023/03/6-ux-design-principles-for-augmented-reality-development.php [Accessed 25 October 2025].

Polydorou, D., 2024. Immersive storytelling experiences: a design methodology [online]. Digital Creativity, Taylor & Francis Online. Available at: https://www.tandfonline.com/doi/full/10.1080/14626268.2024.2389886 [Accessed 25 October 2025].

Sahu, S., 2025. Designing for the immersive world: a UX designer’s guide to AR, VR, and XR [online]. UX Planet. Available at: https://uxplanet.org/designing-for-the-immersive-world-a-ux-designers-guide-to-ar-vr-and-xr-c2414802be59 [Accessed 25 October 2025].

Yang, S., 2023. Storytelling and user experience in the cultural metaverse [online]. Heliyon, Elsevier. Available at: https://www.sciencedirect.com/science/article/pii/S2405844023019667 [Accessed 25 October 2025].

Part Two: Research Proposal

Introduction

The Campus Wayfinder project proposes the creation of an interactive AR navigation tool designed specifically for new students, visitors, and staff at the University of Hull. The system aims to enhance spatial orientation and user experience by providing a digital assisted guide that overlays navigation information directly onto the physical environment. This project combines emerging AR technology with principles of accessibility and visual communication, which are key elements within graphic design. The proposed prototype will utilise 8th Wall, a web-based AR platform, and Blender for 3D modelling to produce an engaging navigational experience. 

The research investigates how AR can bridge the gap between digital wayfinding and physical exploration, turning traditional campus maps into interactive tools that promote engagement and confidence amongst new users. This project also considers broader implications of ethical data use, accessibility, and inclusivity in AR design. Through design thinking, iterative testing, and UX principles, the project aims to demonstrate how we as graphic designers can apply emerging technologies innovatively and responsibly.

Research Overview

The goal of the Campus Wayfinder is to create an immersive and user-friendly AR experience that helps users navigate the University of Hull campus more easily. This project combines graphic design, UX design, and emerging technology together, demonstrating how traditional design can be evolved into interactive, spatial media.

Purpose and Context

Navigating a new university campus can be overwhelming, especially for first-year students and visitors during open days or events. While static maps and signposts provide guidance, they can often lack interactivity, accessibility and can easily become outdated. The purpose of the AR Campus Wayfinder is to reimagine the wayfinding process by introducing an AR experience that provides 3D visual directions, real-time orientation cues, and spatial awareness through a smartphone or tablet camera.

The AR experience would be activated by scanning a poster or QR code placed around campus (e.g. at entrances or key buildings). Once activated, users would see an AR overlay featuring a 3D model of the campus built in Blender, complete with markers, arrows, and animated pathways leading to destinations such as the library, student union, or lecture halls.

UX principles such as embodied cognition have been implemented into this design, which enhances the users understanding through physical interaction with the environment (Benham and Budiu, 2022). The idea is to empower users with spatial awareness by combining real-world visuals with digital augmentation — allowing for intuitive, immersive navigation rather than abstract map-reading.

Scope and Aims

The Campus Wayfinder will function as a design-led prototype demonstrating how UX principles and graphic design can be applied to a university environment. The project aims to:

• Explore the relationship between spatial UX design and physical navigation. 
• Develop a 3D visual model of the campus using Blender, exported as. glb files for AR integration. 
• Prototype interactive elements including directional arrows, information panels and animated routes. 
• Help students be more familiar with their campus and improve their anxiety/disorientation from becoming lost or not knowing where to go.

The final prototype will not include real time GPS data as this is not achievable using 8th Wall. Instead, it will conceptually simulate how a full system could function through carefully designed interactivity, clear visuals, and animated transitions. 

User Experience (UX) Considerations

The primary audience includes new students, visitors, and staff members who are unfamiliar with the campus layout. The secondary audience includes future students exploring the university during open days or events. The design will prioritise:

• Ease of use: The application requires no installation and should load instantly via a QR code. 
• Visual clarity: The use of university brand colours and simple icons will not only ensure immediate recognition but also reduce cognitive load. 
• Interactivity: Users can tap on buildings to reveal names and information or select a destination to visualise a suggested route. 
• Spatial comprehension: The 3D map will be slightly elevated and have a slight isometric perspective, helping users to understand layout and distance. 

The system will aim to foster a sense of orientation and belonging, encouraging exploration rather than frustration. 

Ethical considerations

When the project involves interactive media and environmental data, ethics can be critical in emerging tech design:

• Privacy: the AR system will operate locally without collecting user data or location tracking. 
• Safety: The passthrough camera view allows users to remain aware of their surroundings whilst navigating.
• Accessibility: Colours and texts will have contrast standards, so they are legible in outdoor environments. 
• Testing Consent: If any user testing is done it will be voluntary and anonymised, with clear participant consent forms.

Inspiration and Case Studies

This project draws inspiration from two main applications. Marks & Spencer’s (M&S) in-store AR Wayfinder app, which uses augmented reality and interface overlays to guide customers through retail spaces with ease. The other being Google Maps Live View, which integrates arrows into navigation and allows the user to view a location in first person view through their smartphone. These applications are prime examples that help demonstrate how spatial information can be communicated in intuitive ways. 

Project Plan 

Methodology and Approach

The research adopts a Design Thinking and Agile methodology. Design thinking enables creative exploration through empathy, ideation, prototyping and testing whist Agile methods (Scrum), structure progress into measurable sprints. A sprint is a short, fixed-length period during which a team works to complete a set of prioritised tasks to deliver a tangible, potentially releasable product increment. 

User Stories (Scrum Format) 

1. As a new student, I want to scan a QR code to instantly access an AR map so I can find my way around campus. 
2. As a visitor, I want to explore the 3D models and be able to identify key buildings without the need to download an app. 
3. As a student with accessibility needs, I want clear visual and audio cues that make it easier to navigate without reading smaller text. 
4. As a staff member, I want to be able to recommend this AR tool to help visitors find my department easily.
5. As a designer, I want to showcase how AR can enhance physical spaces through immersive storytelling.

Milestone	Tasks	Timeframe	Deliverables
Research & Ideation	Analyse AR navigation examples and competitors	Week 1-2	Research summary, moodboards
Concept Development	Sketch wireframes, plan user journey, poster mockups	Week 3-4	Concept sketches, stroyboards
3D modelling	Model Campus and create direction assets	Week 5-6	.glb models and materials
8th Wall Prototype	Build AR experience, import 3D models	Week 7-8	Working prototype
Testing & Iteration	Conduct informal tests with 3-5 students, improve based on feedback	Week 9	UX testing report and improvement to-do list
Final Presentation	Record screen capture of AR in use, create any supporting visuals.	Week 10	Finalised prototype and presentation slides.

Task board and Workflow

Tasks will be tracked via a Trello board divided into ‘To-Do’, ‘In Progress’, ‘Testing’, and ‘Complete’ columns. Each milestone will have specific subtasks e.g ‘Export .glb model from blender’. 

Tools and Technologies

These are the Tools and applications that will most likely be used to complete this project:

• 8th Wall: For AR development and scripting interactions
• Blender: For creating optimised 3D assets and exporting. glb models.
• Adobe Illustrator and Photoshop: For poster design and interface graphics.
• Trello: For workflow management.
• Figma: For prototyping UI overlays and visual testing. 

UX and Design Principles

The AR Wayfinder will be guided by UX and spatial design principles: 

• Visibility of interaction confirmation: Provide feedback when users interact with an element e.g highlighted building animation.
• Recognition over Recall: Present all key destinations on the map rather than making users rely on memory. 
• Minimalist Design: Use clear, colour-coded arrows and icons without unnecessary clutter. 
• Consistency and Branding: Ensure colours and typefaces align with the University of Hull’ identity system. 

Anticipated Challenges

• Managing to achieve accurate spatial alignment between the 3D models and the real-world environment.
• Ensuring performance is stable on different devices.
• Diverse user groups are considered when designing for accessibility. 

The camera will be anchored to be aligned with eye level perspective, this ensures the user feels present within the environment rather than perceiving seperate detached models (Eriksen, 2023). This design choice supports immersive UX theory and enhances user embodiment within the digital-physical interface. 

Concept Storyboard

Visual Style and Tone

The AR interface will follow a minimalist and modern visual identity with vibrant green and blues, referencing the University of Hull’s branding. Arrows and route lines will use glowing gradients for clarity in outdoor light. Typography will prioritise legibility, using bold sans-serif fonts such as Helvetica or Poppins. To maintain visual interest subtle animations will be added, without causing any distraction or motion sickness. 

User Journey

The user journey is designed to be smooth and instant, requiring no installations or logins. QR codes are used a lot in today’s world meaning the simplicity of scanning and interacting with the codes, encourages repeat engagement and reduces technological barriers which can be a crucial UX factor for first-time AR users.

Reflection and Emerging Tech Justification

Why AR?

Augmented reality is one of the most promising emerging technologies for spatial communication, as it seamlessly can combine the digital and physical worlds together. For graphic designers, AR can help shift our flat 2D pieces of work into spatial experiences – merging visual communication, interactivity, and immersion together. 

Innovation and Trends

The innovation of this project comes from its accessibility and its purpose. Unlike high- budget corporate AR tools, this project uses web- based AR meaning no downloads required, making it practical for public use. This reflects a growing trend in the UX design – frictionless access (Eriksen, 2023). 

AR technology highlights its relevance as an emerging design tool by not only continuing to redefine how information is communicated, consumed, and visualised, but also Its integration within educational and navigational contexts. The project also addresses sustainable design thinking by replacing printed maps with digital overlays.

Design Thinking

After researching design thinking strategies, the ‘Design Thinking framework’ appeared. It is a non-linear, iterative methodology for creative problem-solving that focuses on understanding user needs through five stages. These being empathise, define, ideate, prototype, and test. This framework will help form the foundation of this project’s research. 

• Empathise: This stage involves understanding the challenges new students face navigating campus. This insight gave me the idea to create a digital orientation aid rather than a traditional map that can become easily outdated. 
• Define: The project’s goal is to reduce spatial confusion through accessible visual storytelling.
• Ideate: I explored multiple concepts, including gamified campus tours and AR treasure hunts, but they had already been done before. The wayfinder was chosen for its practicality and its inclusive potential. 
• Prototype: Blender was chosen to design the environment and 8^th wall was chosen as it enables quick iteration. Animation and interaction will be refined based on student feedback and usability principles. 
• Test: Feedback sessions will assess clarity, visual comfort, and intuitiveness. 

Success Criteria

The success of the Campus wayfinder will be measured by:

• Ease of use: Users navigate intuitively without instruction.
• Engagement: Users spend longer exploring due to interactive features. 
• Accessibility: The design supports diverse users effectively. 
• Reliability: The AR functions smoothly across different devices and environments. 

Future Development

With further development, the prototype could integrate real time GPS and indoor positioning systems, expanding to support live navigation. It could also include voice assisted guidance for users with visual impairments, improving the accessibility of the system. The concept could then later be extended as part of a university-wide welcome campaign, not only reinforcing student engagement through emerging media but also improving accessibility and usability to universities across the country. 

Conclusion

This project proposal demonstrates how graphic designers can apply emerging technologies in meaningful ways. By using AR to enhance real-world navigation, the Campus Wayfinder bridges digital communication and physical experience. UX design, 3D modelling, and AR development have all been combined to create a practical and innovative solution for students and visitors. In developing the project, design thinking will be used to guide every stage – from mapping user empathy and prototyping to user testing and refinement. This ensures that innovation is always driven by human needs. The wayfinder is not only a digital navigational tool but is also a reflection of the future of graphic design, where interactivity, accessibility and storytelling all coexist. As this technology will continue to evolve, we as designers must adapt, refine, and reimagine how information can be delivered. This project incorporates that evolution, turning a traditional campus map into a dynamic, immersive, and interactive experience. 

References

Benham, S. and Budiu, R. (2022) The role of spatial cognition in AR navigation design. Nielsen Norman Group. Available at: https://www.nngroup.com/articles/ar-navigation-design (Accessed: 24 October 2025).

Eriksen, M. (2023) Designing frictionless experiences in augmented reality. UX Collective. Available at: https://uxdesign.cc/frictionless-ux-ar (Accessed: 24 October 2025).