Hudson Shirley Abbi An Kate Erin Weixuan Tao Michelle Violet Lucia Josie Mina

Product Design Sprint Brief

Spring 2026 · SVA BFA Design & Advertising · Launch Party: April 30, 2026

About This Brief

This document is your guide for the next five weeks. It contains everything you need: the story behind what we're building, the sprint timeline, and your individual role assignments with weekly milestones. Think of this like a creative brief you'd receive at an agency or a startup — except you're not just executing someone else's vision. You're shaping it.

Every weekly assignment has a Minimum Deliverable — the bar everyone hits. It's designed to take roughly 2–3 hours outside of class. If that's all you have bandwidth for between your other coursework, that's genuinely fine. But if you want to go deeper, there's no ceiling. Some of you may treat this as your most important portfolio piece this semester. That's great too. This is your journey.

Thursdays in class are for feedback, alignment, and working together. The homework is what you bring to Thursday.

Part 1: The Story

Techie Club

Techie Club started as a master's thesis at NYU's IMA Low Res program. The mission was simple and specific: make creative technology accessible in a playful and welcoming way. Not dumbed down. Not corporate. Playful. Welcoming. Using soft tones and entertainment to lower the barriers that keep creative people away from powerful tools.

Techie Club is now growing into a family of sub-clubs, each focused on a different area of creative technology.

Spatial Design Club

Spatial Design Club is the first sub-club of Techie Club — and you are its founding members.

Our Mission: Build a creative tool that makes AR and VR content creation available to artists, designers, and creative-tech-curious people — with an artistic point of view. Not for gamers. Not for engineers. For the people who would love to create in immersive space but have been blocked out by the highly technical processes that exist today.

Our Audience: Artists and designers who are curious about XR but aren't already using Blender or Unity. People who create in the physical world and would thrive in a medium that uses their whole body. People who want to make art, not configure render pipelines.

Our Hard Value: This is an art platform first. There are plenty of tools for making games. We are not trying to make a ton of money. We are trying to create a space for creatives to express themselves using this really interesting modern technology. This value is non-negotiable — it's engraved into who we are.

What Makes Us Different: Most tools like this either pivot to gaming or disappear. Our difference is that we exist for the creative community, full stop. We're a club, not a corporation. And you — as founding members — are the ones defining what this thing becomes.

The Tool

The Spatial Design Club tool is a creative platform for making art and design in XR. It currently has:

What it still needs — and what you're designing:

The Launch Party — April 30

On the last day of class, we're hosting a launch party. This is not a class presentation. This is a product launch. We're inviting people from outside our class to join us — some via VR headsets, some on immersive desktop. They will experience the tool, see your work inside it, and interact with the platform you've been designing.

Your Diary of a Spatial Design Club pieces will also be part of this event.

Everything we do for the next five weeks builds toward this day.

Part 2: The 5-Week Sprint Timeline

We're running this like a real product team preparing for launch. Each week is a sprint with a specific focus. The sprints build on each other — you can't design something you haven't researched, and you can't polish something you haven't built.

Week Date Sprint Phase Focus
1 March 13 Discovery Research, references, competitive analysis
2 March 20 Definition User flows, wireframes, specifications
3 March 27 Design High-fidelity designs, prototypes, assets
4 April 3 Testing & Iteration User testing, feedback integration, fixes
5 April 10 (due April 30) Polish & Launch Final assets, QA, launch prep

Between sprints: Complete your minimum deliverable and upload it to the shared folder by Wednesday at 11:59pm so we can review together on Thursday.

During Thursday class: Sprint review (show your work), group feedback, alignment across roles, and lecture/demo content as needed.

After Sprint 5 (April 10–30): All design work is due by April 10. The remaining weeks before the April 30 launch party are buffer time for final implementation, QA, launch prep, and your Diary of a Spatial Design Club pieces. This breathing room is intentional — use it well.

Part 3: Role Assignments

Below is your individual assignment sheet. Each role has the same 5-week structure but with deliverables tailored to your specialty. Every week lists:

Hudson — Marketing Designer: Launch Campaign

You are the voice of Spatial Design Club's debut. Your job is to build the campaign that gets people excited to show up on April 30 — and to make the launch party itself feel like an event worth attending. Think of yourself as the creative director of our launch moment.

Week 1 — Discovery

  • Research 3 product/tool launch campaigns that inspire you (indie games, creative tools, art shows — whatever resonates). Save screenshots, links, and a sentence on what works about each one.
  • Minimum: 3 launch campaign references with brief notes on what you'd borrow from each, uploaded to shared folder.
  • Go deeper: Write a one-paragraph "vibe statement" for how the SDC launch should feel.

Week 2 — Definition

  • Define the campaign. Who are we inviting? What's the message? What channels are we using (social, posters, email, word of mouth)? What's the RSVP flow? Write a simple campaign brief.
  • Minimum: A 1-page campaign brief covering: audience, key message, channels, and timeline for campaign rollout leading up to April 30.
  • Go deeper: Create a mood board for the campaign's visual direction. Coordinate with Mina on branding alignment.

Week 3 — Design

  • Design the campaign assets. This could be social posts, a poster, an invitation, a short video teaser — whatever your campaign brief calls for. Work with Mina's branding.
  • Minimum: 2 designed campaign assets ready for distribution (e.g., a social graphic + an invite).
  • Go deeper: Create a full campaign package with 4+ assets across multiple formats. Script a 15–30 second teaser video.

Week 4 — Testing & Iteration

  • Start distributing. Share assets with at least 3 people outside the class and get feedback. Are they intrigued? Do they understand what this is? Would they actually come? Revise based on feedback.
  • Minimum: Share campaign with 3+ people, collect brief feedback, and revise at least one asset based on what you hear.
  • Go deeper: Launch the full campaign. Track RSVPs. Create a day-of run sheet for the launch party event flow.

Week 5 — Polish & Launch

  • Final campaign push. Coordinate with the team on what the launch day experience looks like. Prepare any day-of materials (signage, welcome screen, printed QR codes for joining via headset/desktop, etc.).
  • Minimum: Final versions of all campaign assets + a simple 1-page run-of-show for the launch party.
  • Go deeper: Produce a short launch-day welcome video or walkthrough that guests see when they first join.

Shirley — AI UX Researcher: Intelligent Creative Assistance

This is a modern, emerging role. You're not designing an AI that does everything for the user — you're researching what users wish they had a "magic wand" for when creating in XR. Your work defines where (and how) intelligent assistance could genuinely help creative people without taking over their process.

Week 1 — Discovery

  • Research how existing creative tools use AI features. Focus on the spectrum: what feels like a helpful assistant vs. what feels like "do it all for me"? Look at tools like Photoshop's generative fill, Runway, Figma AI, or music tools with AI assist. Also look at how artists feel about AI in their creative process (find 2–3 articles, interviews, or forum threads).
  • Minimum: A reference sheet with 3 tools that use AI in creative workflows + notes on what works, what feels intrusive, and where the line is. Plus 2 quotes/sources from artists about AI in their process.
  • Go deeper: Map a spectrum from "full manual control" to "full AI automation" and place each reference tool on it. Where should SDC's tool land?

Week 2 — Definition

  • Write a research plan. What do you want to learn from users? Draft 5–7 interview questions focused on: What do people find tedious or frustrating in the creative process? What would they wave a magic wand at? Where do they NOT want help?
  • Minimum: A written research plan with your 5–7 questions, who you plan to talk to (at least 2 people), and what you hope to learn.
  • Go deeper: Create a "Jobs to Be Done" framework for AI assistance in creative XR tools — what job is the user hiring AI to do?

Week 3 — Design

  • Conduct your interviews (2+ people). These can be informal conversations using your prepared questions. Document what you hear. Start synthesizing: what patterns emerge?
  • Minimum: Interview notes from 2 conversations + a half-page summary of key findings (what do people wish for? what do they want to control?).
  • Go deeper: Create a findings presentation with direct quotes, an affinity map of themes, and 3 specific AI feature recommendations for the SDC tool with rationale.

Week 4 — Testing & Iteration

  • Turn your findings into design recommendations. For each "magic wand" wish you uncovered, sketch or describe what that feature might look like in the SDC tool. Share with the team for feedback.
  • Minimum: 2–3 written AI feature recommendations with descriptions of what they do and why (based on your research, not guessing).
  • Go deeper: Create simple mockups or storyboards showing how a user would interact with one of your recommended AI features.

Week 5 — Polish & Launch

  • Finalize your research deliverable as a portfolio-ready case study. This should tell the story: the question you asked, how you researched it, what you found, and what you recommended.
  • Minimum: A clean, final version of your AI UX research findings + recommendations document, ready to present at the launch party.
  • Go deeper: Create a visual poster or interactive presentation of your research for display at the launch event.

Abbi — UX/UI Designer: Identity & Avatars

You're designing how people represent themselves inside the spatial world. Avatars in a creative platform are different from gaming avatars — they should reflect artistic identity, not just appearance. Think about what it means to have a creative presence in shared space.

Week 1 — Discovery

  • Research avatar systems across platforms: VRChat, Rec Room, Bitmoji, Apple Memoji, Ready Player Me, and any others. Also look at how artists represent themselves (artist marks, studio logos, creative signatures). What feels expressive? What feels generic?
  • Minimum: 3 avatar system references with screenshots and notes on what works for a creative/art audience vs. what feels too "gamer" or too corporate.
  • Go deeper: Sketch 3–5 rough concepts for what an SDC avatar vibe could be.

Week 2 — Definition

  • Define the avatar system for SDC. What can users customize? What's the style (abstract? representational? somewhere in between)? How does the avatar appear in desktop view vs. VR vs. AR? Map the user flow for creating/editing an avatar.
  • Minimum: A user flow diagram for avatar creation + a written description of the customization options you're proposing.
  • Go deeper: Create low-fi wireframes of the avatar creation screens.

Week 3 — Design

  • Design the avatar creation interface and at least 2–3 example avatars showing the range of expression possible. High-fidelity mockups of the creation flow.
  • Minimum: High-fidelity mockup of the avatar creation screen + 2 example avatars showing different styles.
  • Go deeper: Design how avatars appear in the shared creative space — how they move, gesture, or indicate what tool they're using.

Week 4 — Testing & Iteration

  • Test your avatar creation flow with 2 people. Watch them try to create an avatar using your mockups (paper prototype or clickable prototype). What's intuitive? What's confusing?
  • Minimum: Test with 2 people, document observations, and revise your design based on findings.
  • Go deeper: Create a clickable prototype in Figma for testing and iteration.

Week 5 — Polish & Launch

  • Final polished avatar designs and creation flow, ready for the launch party portfolio display.
  • Minimum: Final mockups of the avatar system, cleaned up and presentation-ready.
  • Go deeper: Prepare a 2-minute walkthrough video of the avatar system for your portfolio.

An — UX/UI Designer: Immersive VR Experience

You're the specialist on how the SDC tool feels when you're fully inside it. VR is where the tool's promise of "create with your whole body" becomes real. Your job is to make the VR experience intuitive, creative, and true to our art-first mission.

Week 1 — Discovery

  • Research VR creative tools: Tilt Brush/Open Brush, Gravity Sketch, ShapesXR, Quill, SculptrVR. Also look at non-creative VR apps with great UX. What makes VR interaction feel natural? What makes it frustrating? Pay attention to hand tracking, menu systems, and spatial UI.
  • Minimum: 3 VR tool/app references with notes on UX strengths and weaknesses, focused on interaction patterns that would work for a creative art tool.
  • Go deeper: Record yourself using one of these tools (screen capture from headset) and narrate what works and what doesn't.

Week 2 — Definition

  • Map the core user flows for the VR version of SDC. When someone puts on a headset, what happens first? How do they access tools? How do they navigate their workspace? How do they save/share?
  • Minimum: A VR user flow diagram covering: onboarding moment → tool access → creating → saving/exiting.
  • Go deeper: Annotate the flow with interaction method for each step (hand gesture, controller button, gaze, voice, etc.).

Week 3 — Design

  • Design the VR interface. This means spatial UI — where do menus live? How do you select tools? How do you undo? Think about what makes sense when you're standing inside the work. Sketch, mockup, or prototype.
  • Minimum: Mockups or annotated sketches of the VR UI layout showing tool palette, menu system, and workspace organization.
  • Go deeper: Build a simple prototype in ShapesXR or a similar tool to test your spatial UI layout in actual VR.

Week 4 — Testing & Iteration

  • Put someone in the current SDC VR tool (or your prototype) and observe. What do they reach for? Where do they get lost? What feels magical?
  • Minimum: Test with 2 people in VR, document observations, and list 3 specific changes you'd recommend based on what you saw.
  • Go deeper: Create before/after mockups showing your recommended changes with rationale.

Week 5 — Polish & Launch

  • Final VR UX documentation and designs. Prepare the VR experience for launch day — guests will be putting on headsets.
  • Minimum: Final VR UX design package + a checklist of what needs to be working in VR for launch day guests.
  • Go deeper: Create a "VR First-Timer Guide" — a quick reference for launch party guests who've never been in VR.

Kate — UX/UI Designer: Spatial Project Sharing

You're designing what happens after someone creates something in SDC — how they share it with the world. This is XR-specific product design: sharing a spatial artwork isn't like sharing a flat image. Someone might view your piece in AR on their phone, walk into it in VR, or see it framed on a website. Your job is to design the entire share experience, including how creators brand their projects with their own identity (logo, colors, name) so their work always looks like theirs.

Think about all the ways a finished project could travel: a shareable link that opens an immersive viewer, a branded presentation card (printable or digital) with a QR code that drops someone into the piece, a landing page for the project, or even a physical card for gallery shows or the launch party. This is where the tool meets the outside world.

Week 1 — Discovery

  • Research how creative tools and platforms handle sharing and project presentation: Sketchfab's embed/share system, Behance project pages, how AR apps generate share links (Adobe Aero, Snapchat Lens Studio), QR code experiences at art shows/galleries, and any XR-specific share flows you can find. Also look at how artists brand their own work (artist cards, exhibition labels, portfolio project pages).
  • Minimum: 3 references of project share/presentation experiences with notes on what works for creative audiences + screenshots. At least 1 should be XR-specific (AR/VR share flow).
  • Go deeper: Document the full journey from "I finished my piece" to "someone else is experiencing it" for 2 different platforms. Where are the friction points?

Week 2 — Definition

  • Define the SDC project share system. Map the user flow for: finishing a project — customizing the share presentation (adding your logo, brand colors, project title, description) — generating a shareable link and/or QR code — viewer experience (what does the recipient see when they open it?). Consider multiple viewer contexts: AR on phone, VR in headset, immersive desktop, and a simple web preview for people without any device.
  • Minimum: A user flow diagram for the full share journey (creator side + viewer side) + a written list of what creators can customize on their share card (logo, colors, title, description, etc.).
  • Go deeper: Sketch 2–3 concepts for what a branded "project card" could look like — the thing you'd print, text to a friend, or display at a gallery.

Week 3 — Design

  • Design the share experience. This includes: the share/export screen inside the tool (where creators add their branding and generate the link/QR), the branded project card (digital and printable versions), and the viewer landing page (what someone sees when they open a shared project link). Think about how the creator's brand and SDC's brand coexist — the creator should feel like the star, with SDC as the platform credit.
  • Minimum: High-fidelity mockups of 3 key screens: the share customization panel inside the tool, a branded project card with QR code, and the viewer landing page.
  • Go deeper: Design the project card as a printable template that could be used at the launch party — guests scan the QR and step into a student's piece. Also design how the share experience differs across AR view, VR view, and desktop.

Week 4 — Testing & Iteration

  • Test the share flow with 2 people. Give the creator: "You just finished a piece and want to share it with someone who's never used SDC. Set it up." Give the viewer: "Someone sent you this link/card. What do you do?" Watch both sides. Is the branding customization intuitive? Does the QR/link actually feel inviting?
  • Minimum: Test both creator and viewer sides with 2 people, document findings, and revise at least 1 screen based on observations.
  • Go deeper: Print a physical project card with a real QR code and test the full loop — scan to experience. Does it work? How does it feel?

Week 5 — Polish & Launch

  • Final project share designs and assets. For the launch party specifically, design a project card template that all 13 founding members can use to present their Diary of a Spatial Design Club pieces — guests scan the QR and enter each person's spatial work.
  • Minimum: Final share flow mockups + a printable/shareable project card template ready for the launch party.
  • Go deeper: Create the actual project cards for the launch party with real QR codes for each founding member's diary piece. Design any signage that helps launch party guests understand how to scan and enter.

Erin — UX/UI Designer: Interactive Learning

You're designing how SDC teaches people to create. Not a boring tutorial system — interactive, art-focused learning experiences that live inside the tool. Think about how you'd teach someone to paint if the canvas was all around them.

Week 1 — Discovery

  • Research how creative tools teach their users: Duolingo (gamified), Procreate (contextual tips), Figma (interactive tutorials), Tilt Brush (guided experiences). Also look at interactive art installations that teach through doing. What makes learning feel like playing?
  • Minimum: 3 references of educational/onboarding experiences in creative tools + notes on what makes learning feel creative vs. tedious.
  • Go deeper: Find 2 examples of interactive art that is inherently educational and analyze how they teach without lecturing.

Week 2 — Definition

  • Define the learning path for a new SDC user. What should someone learn first? What's the "aha moment"? Map the onboarding flow from first open to first creation. Also identify 2–3 "interactive art lessons" that could live inside the tool.
  • Minimum: An onboarding user flow + written descriptions of 2 interactive art lesson concepts.
  • Go deeper: Storyboard one lesson showing each step the user experiences.

Week 3 — Design

  • Design the onboarding experience and at least one interactive lesson. High-fidelity mockups or spatial design concepts (how does a lesson look in 3D space?).
  • Minimum: High-fidelity mockups of the onboarding flow (3+ screens) and visual concept for 1 interactive lesson.
  • Go deeper: Design a "lesson builder" — how could other community members create their own interactive lessons?

Week 4 — Testing & Iteration

  • Test your onboarding flow with 2 people who haven't used the SDC tool. Walk them through your mockups. Where do they get it? Where are they lost?
  • Minimum: Test with 2 people, document findings, and revise based on observations.
  • Go deeper: Test the interactive lesson concept as well — does the art-teaching approach actually work?

Week 5 — Polish & Launch

  • Final educational design package. For launch day, the onboarding flow is especially critical — guests will be brand new.
  • Minimum: Final onboarding flow + lesson concept designs, polished and presentation-ready.
  • Go deeper: Write a "Launch Day Onboarding Script" — the 60-second guided experience for guests at the launch party.

Weixuan — UX/UI Designer: Spatial Animation

You're designing how people create and control animation within the SDC tool. Animation in spatial design is different from traditional animation — things move in 3D space around you. Your job is to make that feel intuitive and expressive.

Week 1 — Discovery

  • Research animation tools and how they handle the creation interface: After Effects timeline, Blender animation mode, Animaker, Rive, Cavalry, and any VR/AR animation tools you can find. How do they let users control time and motion? What's overly complex and what's elegant?
  • Minimum: 3 animation tool references with screenshots of their animation controls/UI + notes on what could work for a simplified, art-first spatial tool.
  • Go deeper: Create a comparison chart of how each tool handles: timeline, keyframes, easing, and preview.

Week 2 — Definition

  • Define the animation features for SDC. What types of animation should users be able to create? (Object movement? Material changes? Camera paths? Particle effects?) What's the simplest possible way to animate something in 3D space? Map the user flow.
  • Minimum: A feature scope document listing which animation capabilities SDC should support + a user flow for creating a basic animation.
  • Go deeper: Sketch 2–3 different UI concepts for the animation timeline/controls.

Week 3 — Design

  • Design the animation interface. How does the user access animation mode? What do the controls look like in desktop view? How would this work in VR (coordinate with An)?
  • Minimum: High-fidelity mockups of the animation controls/interface — at least 3 screens showing the flow from "I want to animate this" to "it's moving."
  • Go deeper: Create a motion mockup (animated Figma prototype or After Effects comp) showing the animation UI in action.

Week 4 — Testing & Iteration

  • Test your animation flow with 2 people. Give them a simple task: "Make this object float up and spin." Watch what they try. Where does the UI support them? Where does it fail?
  • Minimum: Test with 2 people, document observations, revise at least 1 screen.
  • Go deeper: Test with someone who has animation experience AND someone who doesn't — compare the two experiences.

Week 5 — Polish & Launch

  • Final animation UX designs, polished and presentation-ready.
  • Minimum: Final mockup set for the animation feature, cleaned up for launch.
  • Go deeper: Create a short demo showing how animation could work in the tool for the launch party display.

Tao — UX/UI Designer: Creator Profiles & Publishing

You're designing how members present themselves and share their thinking. The profile is how someone says "this is who I am" in the SDC community. The blog is how they say "this is what I'm thinking about." Together, they turn users into community members.

Week 1 — Discovery

  • Research creative profile pages and blog/journal platforms: Are.na profiles, Cargo, Readymag, Substack, Medium, Tumblr, personal portfolio sites. What do artists choose to share about themselves? What makes a profile feel like a person vs. a resume?
  • Minimum: 3 references of profile/blog platforms with notes on what feels authentic for a creative audience + screenshots of profile layouts.
  • Go deeper: Interview 2 classmates: What would you want on your SDC profile? What would you NOT want?

Week 2 — Definition

  • Define the profile and blog structure. What fields does a profile have? (Name, bio, avatar, portfolio link, skills, current project?) What does a blog post consist of? Can you embed work from the tool? Map the user flows for profile creation and writing a blog post.
  • Minimum: A profile wireframe showing all fields + a user flow for creating/editing a profile and writing a blog post.
  • Go deeper: Define how profiles connect to the project share system (Kate's work) — when someone views a shared project, how do they get to the creator's profile?

Week 3 — Design

  • Design the profile page and blog post view. High-fidelity mockups showing a filled-out profile and a published blog post.
  • Minimum: High-fidelity mockups of 3 screens: profile view, profile edit, and blog post view.
  • Go deeper: Design the "empty state" — what does a brand new profile look like? How do you encourage people to fill it in?

Week 4 — Testing & Iteration

  • Test with 2 people: "Set up your profile on this platform" (using your mockups as a prototype). Watch what they want to add, skip, or change. Also test: "Write a short post about something you made."
  • Minimum: Test with 2 people, document findings, and revise based on observations.
  • Go deeper: Create a clickable prototype of the full profile + blog flow.

Week 5 — Polish & Launch

  • Final profile and blog designs, polished for launch.
  • Minimum: Final mockup set, presentation-ready.
  • Go deeper: Populate the profile mockup with real SDC member info (with their permission) to show at the launch party.

Michelle — Spatial Storytelling & Narrative Design Researcher

You're asking the question most of the team isn't: what will people actually create with this tool, and how does meaning get made when the viewer controls the camera? Your role is about researching how creators build narrative in spatial media — immersive theater, installation art, museum curation, AR narrative apps, interactive fiction — and identifying the techniques (placement, sequence, reveal, scale, juxtaposition) that make spatial storytelling work.

Week 1 — Discovery

  • Research 6–10 examples of spatial storytelling across different media: immersive theater (Sleep No More, Punchdrunk), installation art (teamLab, Olafur Eliasson, Yayoi Kusama), museum curation, AR narrative apps, spatial documentary/journalism projects, interactive fiction in 3D (Kentucky Route Zero, What Remains of Edith Finch). For each, document how the story unfolds in space, how attention is directed without a fixed camera, and what role objects play in carrying meaning.
  • Minimum: 6 spatial narrative examples with annotated screenshots/videos + a 300–400 word synthesis identifying core spatial storytelling techniques.
  • Go deeper: Write a case study (250–350 words) of your own empress/vases AR project — what narrative decisions did you make, how did spatial placement carry meaning, and what would you do differently with better tools?

Week 2 — Definition

  • Define a framework for spatial narrative techniques. What are the building blocks of storytelling in space? (Placement, sequence, reveal, scale, juxtaposition, environmental cues, viewer path vs. open exploration.) Map how SDC's tool could support each technique.
  • Minimum: A spatial narrative techniques framework with definitions and examples + a list of SDC features/tools that would support each technique.
  • Go deeper: Create a "narrative recipe" — a step-by-step guide showing how a creator could use SDC to tell a simple story in space using 3–5 objects.

Week 3 — Design

  • Design narrative support features for SDC. How could the tool help creators think about story, not just placement? Consider: narrative path tools, reveal/sequence helpers, viewer attention guides, and annotation systems for explaining narrative intent.
  • Minimum: Design proposals for 2–3 narrative support features with mockups or detailed sketches showing how they'd work in the editor.
  • Go deeper: Build a sample spatial narrative using the SDC tool — demonstrate one of your proposed techniques with actual 3D objects.

Week 4 — Testing & Iteration

  • Test your narrative framework with 2 people. Give them a prompt: "Tell a short story using 5 objects arranged in space." Watch how they think about narrative vs. decoration. What's intuitive? What needs guidance?
  • Minimum: Test with 2 people, document findings, and refine your narrative techniques framework based on observations.
  • Go deeper: Compare how someone with storytelling experience vs. a visual arts background approaches spatial narrative differently.

Week 5 — Polish & Launch

  • Final narrative design package. For the launch party, prepare a compelling example of spatial storytelling that demonstrates what SDC makes possible beyond just "placing objects in 3D."
  • Minimum: Final narrative techniques guide + one polished spatial story example, presentation-ready.
  • Go deeper: Create a short visual explainer showing how spatial storytelling works — useful for onboarding new creators and for your portfolio.

Violet — 3D Artist: Starter Asset Collection

You're creating the "first impression" of what's possible in SDC. When someone opens the tool for the first time, your starter assets are what they'll have to work with. These aren't generic 3D models — they're curated, artistic starting points that inspire creative expression. Think art supplies, not clip art.

Week 1 — Discovery

  • Research asset libraries and starter kits in creative tools: Procreate's default brushes, Figma's starter components, Blender's asset browser, Poly Pizza, Sketchfab collections. What makes a starter set feel inspiring vs. limiting? Also research what kinds of objects and shapes artists actually use when creating spatial/immersive art.
  • Minimum: 3 references of starter asset collections + notes on curation philosophy — what makes a "good" starter kit for artists?
  • Go deeper: Survey 3–5 classmates: if you opened a 3D art tool for the first time, what objects/shapes/materials would you want available?

Week 2 — Definition

  • Define the asset pack. How many assets? What categories (geometric primitives? organic shapes? architectural elements? nature? abstract?)? What art style ties them together? How are they organized in the tool?
  • Minimum: A written plan listing asset categories, number of assets per category, and the visual style guide for the pack.
  • Go deeper: Create a mood board showing the aesthetic direction of the asset pack, coordinated with Mina's branding.

Week 3 — Design

  • Create the assets. Model, sculpt, or source the 3D objects that will make up the starter pack. Focus on variety and artistic quality over quantity.
  • Minimum: At least 8 starter assets created/sourced, organized by category, and ready for import into the tool.
  • Go deeper: Create 15+ assets with consistent style, including custom materials/textures that match SDC's art-first identity.

Week 4 — Testing & Iteration

  • Put your assets in front of 2 people and watch them create. Do they reach for your assets? Do any feel unusable or confusing? Is anything obviously missing?
  • Minimum: Test with 2 people, observe which assets they use and which they ignore, and refine or add based on findings.
  • Go deeper: Create a "remix" demo — show 3 different artworks that can be made from the same starter pack to prove its versatility.

Week 5 — Polish & Launch

  • Final asset pack, imported and working in the tool for launch day.
  • Minimum: Final asset pack, tested in the tool and ready for launch party guests to use.
  • Go deeper: Create a visual catalog/poster showing all assets in the pack for display at the launch.

Lucia — UX/UI Designer: Editor Environment & Spatial Preview

You're designing the editor's contextual preview system — the workspace helpers that let creators understand how their work will actually be experienced in AR, VR, and desktop while they're still building on a flat screen. Think staging podiums for AR creations that disappear when the work goes live, background/boundary switchers for VR scenes, first-person vs. third-person preview toggles, and contextual tips like "don't forget: people will look at this from every angle."

Here's the core challenge: creators build on a desktop screen, but their work will be experienced in completely different contexts — held on a phone in AR (8–24 inches from someone's face, surrounded by their messy living room), worn in a VR headset (fully immersive), or viewed on a desktop (flat screen preview). Your job is to design the workspace helpers and staging tools that bridge this gap.

Week 1 — Discovery

  • Research 5–8 creative tools or design environments that help creators preview, stage, or contextualize their work for a different output than the one they're building in (e.g., responsive design preview tools, Figma's device frames, AR preview modes in Adobe Aero or Reality Composer, Blender's camera/viewport system, game engine scene editors, even physical exhibition staging). For each, document: what context does the tool provide? What helpers exist? How does the creator understand scale, perspective, and viewing angle before the work is "live"?
  • Minimum: 5 preview/staging system references with annotated screenshots + a 250–350 word reflection on what the SDC editor should show around AR and VR creations.
  • Go deeper: Sketch 2–3 concepts for editor workspace helpers: a staging podium for AR creations, a background/boundary switcher for VR scenes, and a first-person vs. third-person preview toggle.

Week 2 — Definition

  • Define the preview and staging system for SDC. What helpers should the editor provide for each viewing context (AR on phone, VR in headset, desktop browser)? For each helper, define: what it looks like, when it appears, and what disappears when the work goes live vs. what stays as part of the editor experience.
  • Minimum: A feature list of preview/staging helpers organized by context (AR, VR, desktop) + user flows for switching between preview modes.
  • Go deeper: Map the "build vs. experience" gap for each context — what specific things does the creator need to understand that they can't see on their flat screen?

Week 3 — Design

  • Design the preview and staging system. This includes: the preview mode switcher UI, the visual appearance of staging helpers (podiums, boundaries, reference figures), contextual tips and gentle reminders, and how the editor communicates "this is a helper that won't appear in the final experience."
  • Minimum: High-fidelity mockups of the preview mode system + visual design of at least 2 staging helpers showing how they appear in the editor and how they disappear in the final view.
  • Go deeper: Design the full suite of contextual tips. Mock up a before/after showing the same scene in "build mode" vs. "AR preview" vs. "VR preview."

Week 4 — Testing & Iteration

  • Test with 2 people. Give them a scenario: "You're building an AR piece that will sit on a kitchen table. Use the preview tools to check how it will look on someone's phone." Watch how they understand the relationship between the editor and the final experience. Do the staging helpers help or confuse?
  • Minimum: Test with 2 people, document findings, and revise at least 1 screen based on observations.
  • Go deeper: Test with someone who understands AR/VR AND someone who doesn't. Compare how they think about the "build here, experience there" gap.

Week 5 — Polish & Launch

  • Final preview and staging designs. For the launch party, the preview system should feel polished — guests creating in the tool should immediately understand how their work will look on a phone in AR.
  • Minimum: Final mockup set for the preview/staging system, presentation-ready.
  • Go deeper: Create a short visual explainer showing how the preview system bridges the gap between building and experiencing — useful for onboarding and for your portfolio.

Josie — UX/UI Designer: Materials & Surfaces

You're designing one of the most creatively powerful features in the tool — how users change the look and feel of their 3D objects. Materials (color, texture, reflectivity, transparency) are how artists express style. Your job is to make material editing feel intuitive, expressive, and exciting rather than technical.

Week 1 — Discovery

  • Research material editors across tools: Blender's shader editor (complex but powerful), Forger, Procreate's brush/color system, Substance Painter, even simpler ones like color pickers in Canva or Keynote. What's the spectrum from "simple but limited" to "powerful but overwhelming"? Where should SDC land?
  • Minimum: 3 material/color editing tool references with screenshots + notes on what's artist-friendly vs. engineer-friendly.
  • Go deeper: Create a complexity spectrum chart and place each tool on it. Annotate where SDC should sit and why.

Week 2 — Definition

  • Define what material editing looks like in SDC. What properties can users control? (Color, texture, metallic, roughness, transparency, glow?) How do they apply materials — paint on? Select object and choose? What's the flow?
  • Minimum: A feature list of material properties SDC should support + a user flow diagram for applying/editing a material on an object.
  • Go deeper: Define a "material preset" library concept — curated starting materials that artists can customize.

Week 3 — Design

  • Design the material editor interface. High-fidelity mockups of the material panel, color picker, texture browser, and the live preview (how do you see material changes in real-time on your 3D object?).
  • Minimum: High-fidelity mockups of the material editor panel — at least 3 screens showing: browse/select material, customize properties, and apply to object.
  • Go deeper: Design the material editor for VR as well (coordinate with An) — how do you pick materials when you're standing inside the scene?

Week 4 — Testing & Iteration

  • Test your material editor with 2 people. Give them a plain white cube and say "make this look like something interesting." Watch what they reach for and where they get stuck.
  • Minimum: Test with 2 people, document findings, and revise at least 1 screen based on observations.
  • Go deeper: Test with both an artist and a non-artist — compare how they approach material editing.

Week 5 — Polish & Launch

  • Final material editor designs, polished and launch-ready.
  • Minimum: Final mockup set, presentation-ready.
  • Go deeper: Prepare a short live demo of the material editing flow for the launch party.

Mina — Brand Designer: Visual Identity

You are the face of Spatial Design Club. Every touchpoint — the tool, the community, the launch party, the social presence — needs to feel like it belongs to the same family. And that family's identity comes from you. You're defining what SDC looks and sounds like.

Week 1 — Discovery

  • Research branding for creative tools and communities: the visual identity of tools like Figma, Notion, Are.na, Ableton, Runway. Also look at art collective/community branding (e.g., Rhizome, Eyebeam, NEW INC). Note: SDC is a sub-club of Techie Club — the branding should feel like a family relationship, not identical twins.
  • Minimum: 3 branding references with notes on what makes each identity feel right for a creative community + screenshots of logos, color palettes, and typography.
  • Go deeper: Present 2–3 initial mood boards showing different possible directions for SDC's brand.

Week 2 — Definition

  • Define the brand identity. Develop a logo (or logo directions), color palette, typography choices, and a brief brand voice guide (how does SDC "talk"?). Document the relationship to Techie Club's parent brand.
  • Minimum: A 1-page brand direction document showing: logo concept, color palette (primary + secondary + accent), type selections, and 3 adjectives that describe the brand voice.
  • Go deeper: Present 2 distinct brand directions for critique and feedback.

Week 3 — Design

  • Build the brand system. Finalize the logo. Create a simple brand guide that the team can reference. Design templates that others can use (social post templates for Hudson, UI component styles for the UX designers).
  • Minimum: Finalized logo + a 1-page brand guide (logo, colors, type, voice) + 1 template for Hudson's launch campaign assets.
  • Go deeper: Create a full brand guidelines document with usage rules, spacing, do's and don'ts, and mockups showing the brand applied across touchpoints.

Week 4 — Testing & Iteration

  • Share the branding with 3+ people outside the class. Does it communicate "creative XR tool for artists"? Does it feel too corporate? Too playful? Too techy? Gather impressions and refine.
  • Minimum: Share branding with 3+ people, collect feedback, and make at least 1 revision based on what you hear.
  • Go deeper: Apply the brand to a mockup of the full tool interface and the launch party invitation to test cohesion.

Week 5 — Polish & Launch

  • Final brand package. Everything at the launch party should carry this identity — from the tool's UI to the event signage.
  • Minimum: Final brand guide + all assets the team needs for launch (logo files, color codes, fonts).
  • Go deeper: Design a branded "welcome screen" or landing page for launch party guests + any physical materials needed for the event.

Part 4: Weekly Rhythm

Here's what every week looks like:

Thursday (in class): Sprint review — show your work, get feedback, align with teammates, hear any lectures/demos. This is your sync point.

Friday–Wednesday (on your own): Complete your minimum deliverable. Use the steps in your role assignment above. If you're stuck, reach out — don't wait until Thursday.

Wednesday 11:59pm: Upload your deliverable to the shared folder.

Thursday again: We review, we iterate, we move to the next sprint.

Part 5: A Note on Portfolio

Every week's work is a building block in a portfolio-ready case study. By the end of five weeks, you'll have:

That's not a class project. That's a design process story. Whether you're applying to grad school ("Here's how I think") or interviewing for a job ("Here's how I work on a team"), this arc is what reviewers want to see.

Part 6: Key Dates

Date What's Happening
March 13 Sprint 1: Discovery — bring your research
March 20 Sprint 2: Definition — bring your flows and specs
March 27 Sprint 3: Design — bring your mockups and assets
April 3 Sprint 4: Testing — bring your test results and revisions
April 10 Sprint 5: Polish — final work due
April 30 LAUNCH PARTY