Virtual reality, as we all know, has a long history, and can be used for practical applications. However, fashion changes with time, so the arrival of virtual reality poses several interesting obstacles for designers. In fact, the creation of a virtual reality environment has made room for creativity and new possibilities for grand designs.
Learning about VR Design
VR architecture refers to the creation of a virtual environment that can be understood and absorbed using hardware, such as headsets. However, virtual reality has never been so practical or lucrative in history. VR provides virtual entertainment and it is predicted that its application will penetrate all industries.
In particular, VR has progressed in various fields, including the following:
- As a new artistic medium
- For remote communication
- To promote virtual tourism
- To assist with archeological research
VR design is also currently very successful in the gaming industry for cash-in-hand profits. Many see it as a game-changer or technology disruptor which threatens to overtake or at least capture a wide range of other game consoles.
How to design virtual reality
So, how is VR designed? In reality, VR is similar to the nature of video games and is very specific. Web designers may have some familiarity with UX interactivity, but VR is a whole new ball game. For example, in VR architecture, there are several specific visual problems, including a shift in depth, recognizable signals and feature controls in the environment.
VR technology: disappearing or the new norm?
Although the VR industry had a good turnaround at the end of 2018, sales figures were not that impressive. Analysis accounts for the fact that these figures involve the innovation of a new technology, i.e. it is still both costly and unknown. However, most participants of VR said that they would buy a VR headset if they could.
Interaction: Fashion in VR
We start with controls, the top priority for interactivity. In this way, semantic and reactive gestures for various actions should be the main draw. Unfortunately, VR design does not have the luxury of different buttons, i.e. you can’t precisely point and click with your mouse. Rather, virtual entertainment most controls have to be movements that exist in your built world.
To promote this, you should divide the forms of gesture controls into two key classes. We are familiar with symbolic movements in reality: i.e. walking, craning your neck, nodding for “yes,” etc. Responsive gestures include how we communicate with our environment i.e. collecting, throwing, pushbuttons, etc. Overall, it is more difficult to design sensitive movements as you need to understand object characteristics, such as weight or aerodynamics:
- Use distinct signals based on reality
Another job is to let the users know when and how they can communicate. Designers should give them real-world experiences – for instance, a large shiny door to signify a door or a point of travel.
Since everything will be interactive in your system, your users would want continuous feedback so that time is not wasted. This follows the same best practices of eCommerce—instead of a screen popping up to say that your order is being processed; VR can be lifelike, such as a ding from the cash register, or a line of dialogue from the virtual cashier.
Keep menus “in-world” to encourage immersion
When you walk down the street, in the upper right corner of your vision there are no hamburger menus. Therefore, your menu design needs to be imaginative, but your users will appreciate the hard work.
Audio & visual
According to one’s imagination, there can be a lot of imaginary clothes in the VR shop. In the real world, we can show them on a big, open floor, like most department stores, but in VR it’s too hard to see what is close and far. Audio should also be realistic in order to engage the customer.
Concave text and images
Since we have curved sight, we should choose to display a slightly curved concave surface that does not contain text or pictures which are part of the world, as this is more suited for visual immersion. Therefore, when the user turns his head it will look better.
Speakers vs. headphones
Speakers are ideally suited for auditory absorption because you can also use them as a part of the action and to change the sound direction. Headphones restrict these benefits, but still offer users various options.
Render avatars only when necessary
Even the most careful concepts in virtual reality may be a thorn in your side. While visuals are so much more effective, the costs of errors or inconsistencies are not worth it. This is two times the case with an avatar’s body, which is bound to come into view more than other elements.
Always try to use visual effects to communicate depth and space
Three-dimensional elements in real life are not a concern, but keep in mind that VR still relies on a 2D display model. This makes it particularly difficult for designers to demonstrate spatial relations. Therefore, users have to know how near or distant objects are from each other, and to be able to communicate with them properly.
Designing for the human body
Humans move in arcs
Making body motions feel lifelike for your VR design is a critical task, as excessive head movement can induce motion sickness for certain people, so one generally wants to avoid shifting the user’s head too much.
Encourage users to keep their hands up
Almost all the interactions in a VR system include hands as in real life. The hands of your users are your best tools to explore the world, so encourage them to keep them up and ready. It is simpler (and more fun) for the user to communicate with objects when they can see their hands in the virtual world.
VR’s success depends on designers
At this point, we are approaching a turning point: the boundaries of VR design are becoming less technical and more creative. Take this for granted. Virtual reality programming is the new limit — it is hard to start because of its newness and unfamiliarity, but it provides limitless possibilities for these same reasons.