This project was carried out at the end of a two-year basic training course in perspective techniques with the aim of integrating the use of perspective in the design of large environments in the design of animation and narrative concepts.

During the two-year basic training course in design, I studied classical perspective techniques to better and more believably represent the environment to the audience. However, considering that in classical perspective methods - one-point, two-point, and three-point - the audience watches the work as an observer outside the artwork. Therefore, I tried to develop a new approach to environment design to create an innovative perspective to reduce the distance between the artwork and the audience. In other words, the audience/viewer, by standing in front of the artwork, does not imagine himself as an entity outside the narrative but considers themselves a traveler with the flow of narrative inside the artwork.

Therefore, to represent this interaction of the audience with the artwork, in addition to designing an interactive perspective system, I also created a narrative world in which the audience follows the path of the artwork unconsciously.

Aerial view of the designed location - All the narratives and designs were designed completely mentally and without the use of digital tools. Only to speed up the design process, after the initial design on paper, just two layers were designed in AutoCAD software to increase the accuracy of the design and then printed.

The character layer is displayed in the last layer.

It is worth noting that all the layers on tracing paper are designed to be 4 meters long and 1 meter wide. The reason for using tracing paper was to make the underlying layers visible.

For better believability, I used the substitution of using the body in front of the eyes to observe the artwork. In other words, by creating an artwork, four meters long and one meter high, the audience decides to move with their body during their first encounter with the artwork due to the unusual length of the artwork. This initial encounter with the artwork, which is a result of the body surpassing the eye, is used to create an imbalance in the use of the dominant eye in front of the audience's body.

Next, to maintain this non-observant interaction of the audience with the artwork, an attempt was made to use two techniques, one usage of narrative to create a sense of movement illusion based on character design that they were considered in a journey, and second during the movement of the audience's body throughout the artwork to help the eye interact more non-dominantly with the body movement.

So that to display these concepts, story elements such as characterization, creating a narrative story, and metaphorical representation of characters in the project concept are used. In the narrative, the characters are traveling from one point to another. All of them have been effective for the unconscious association of body movement in front of the work.

In the last stage, to challenge a new concept of the audience's bodily experience in front of the work of art compared to conventional works, an innovative framework of perspective systems was created.

In this system, an attempt has been made to overcome the apparatus experience towards the work of art, using a system of discrete network perspectives in front of the classic centralized perspectives.

So in the first two layers, I developed a massive perspective structure, that was contrary to the classic perspective rather than joining to one point the lines do not meet each other.

Initial perspective design - designed by hand

First two layers of perspective design- designed by AutoCAD

Furthermore, by creating different layers of perspective for one piece of art, contrary to the usual method, and using the wireframe technique, an attempt has been made to develop a decentralized but comprehensive perspective, like animation techniques where movement occurs between two images.

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