ISSN: 1550-7521

All submissions of the EM system will be redirected to Online Manuscript Submission System. Authors are requested to submit articles directly to Online Manuscript Submission System of respective journal.

Utilizing virtual reality and three-dimensional space, visual space design for digital media art

John Wilmsherst*, Adrien Mackay

Department of Civil Engineering, Aristotle University, Greece


*Corresponding Author:
John Wilmsherst
Department of Civil Engineering, Aristotle University, Greece

Received: 1-Oct-2022, Manuscript No. gmj-22-77993; Editor assigned: 03-Oct-2022, Preqc No. gmj-22-77993; Reviewed: 17-Oct-2022, QC No. gmj-22-77993; Revised: 22-Oct-2022, Manuscript No. gmj-22-77993 (R); Published: 29-Oct-2022, DOI: 10.36648/1550-7521.20.56.334

Citation: Wilmsherst J, Mackay A (2022) Utilizing Virtual Reality and Three- Dimensional Space, Visual Space Design for Digital Media Art. Global Media Journal, 20:56.


Visit for more related articles at Global Media Journal


Creators of digital media art should think about incorporating VR into their work to raise the quality of their creations, especially in light of the on-going advancements in science and technology. This essay explores the artistic development process for digital media based on virtual reality and explains the distinctiveness of its aesthetic design. He also suggested a technique for creating visual spaces for digital media art that is based on virtual reality. In this essay, the spatial visual form in digital media art design is examined and investigated from the standpoint of visual perception. The construction of three-dimensional space, four-dimensional space, and surreal multidimensional space is the first design work that this article uses to explain the elaborated contents in detail. Combining digital technology can help people become more aesthetically distinctive. In order to theoretically provide a reference point for digital media art to advance in terms of timeliness, diversification, and originality, the practise of visual space design is examined.


Cultural Heritage; Media Dissemination; Virtual Reality; Visual Space; Immersive technology


High-tech products have started to become more and more commonplace as society and technology continue to advance. In recent years, digital new media technology has become widely accepted in society, and artists working in a variety of mediums have started to use it into their own works. The advancement of science has significantly altered peoples' lives, and at the same time, information sharing and media trends have reached a new level. Virtual reality (VR) becomes a means of expression and a channel for the communication of art when it is combined with digital media art. Participants can finish this interactive experience through VR thanks to this technology, an interactive media style, and digital media art, an artistic form. Right now, the participants in this interactive experience can use virtual reality to complete this technology, which is an interactive media style. Display design can't currently see the shadow of traditional culture, but it needs to change more to fit in with contemporary society and use high-tech tools to better integrate digital media with display design [1-3].

The vocabulary and design processes used in display design have undergone significant change as a result of the integration of digital media technology. It significantly affects conventional display design principles and processes. The creative inner strength of digital media art is gradually growing, along with the information capacity and the functions, in the context of the present. Digital media art, however, is currently unable to demonstrate a completely new development trend from a future development standpoint. In addition to enhancing the aesthetic impacts and processes of digital media, virtual reality (VR) also expands the development space and opportunities for artistic production. As information technology advances, additional opportunities arise for the creation of digital media [4]. Communication and penetration between art and science lead to an increase in the intuitiveness and three-dimensionality of artistic feeling. Numerous new artistic items with appealing and cutting-edge features are a result of the ongoing development of information technology [5].

Due to the quick advancement of new science and technology including 5G wave, artificial intelligence, and big data, VR has become widely used in various industries. The outcome of traditional digital media art creation is typically a single film or collection of graphics and pictures created using a computeraided design platform. The variety of shapes and perspectives that can be used in digital media artistic creation is expanded by the usage of virtual reality. This combination can assist the experiencer better understand the ideas the artist is trying to transmit in the works of art as well as reduce the distance between them and the experiencer. Digital media artwork typically includes dynamic graphics in its works of art [6]. When virtual reality technology is merged with digital media art, we can engage with the works while seeing this dynamic image. The sensing gadget immediately reacts to the experiencer's head movements, eye movements, gestures, and other data signals to enable for complete participation in the interactive process. This essay focuses on the pertinent methods of creating current digital art through the prism of virtual reality. In addition, the visual space design process for digital media art was shown [7].

In the world of art, display design is a significant field. It is on the cutting edge of science and technology, fostering advancements in both those fields as well as in display design. Display design and technology are two distinct fields that can coexist. On the other hand, a successful fusion of the two will breathe fresh life into it. Dual reality in art is an evolving trend in virtual reality (VR), which is regularly updated and evolved from simulations of reality to total participant immersion. The distinction between virtual space and the real world, as well as between digital technology and artistic form, is becoming increasingly muddled as people struggle to distinguish between the two realities in their daily lives [8].

The development of virtual reality (VR) has the potential to address the drawbacks of earlier digital media art and encourage its close integration with VR on the basis of unique features, enabling the production of a wide range of new digital media art pieces. This essay defines virtual reality and discusses its application to the production of digital art. In order to make it clear that the expression of space in contemporary visual communication design should serve more than just an aesthetic purpose, it is hoped that the characteristics of digital media will be combined with scientific research theories of space in the fields of physics and psychology, as well as the expression of space in painting art. Modern science and technology can be used to realise the perception that space has for humans on a variety of levels after having a rational knowledge of the concept of space. A solid basis for future design is created by comprehensive study on the integration of multimedia technologies and display design, which summarises the appropriate design methodologies [9, 10].

Materials and Method

Traditional grid methods are used by the 3D landscape design simulation system to accomplish site simulation and design. On a terrain surface with triangles and 3D terrain, the system creates a small collection of digital elevation sampling points or contour data and converts it to regular grid data or digital elevation using a local interpolation algorithm. Using a projector, one can directly disrupt the environment to reconstruct 3D images.

This essay's goal is to provide an understanding of virtual realitybased digital 3D multimedia panoramic visual communication technology [11-13]. First, the fundamental ideas and features of virtual reality—including the creation and use of digital threedimensional panoramic technology—are presented. Theoretical research then introduces some fundamental concepts for 3D panoramic image mosaic, such as camera image modelling, image sharing, and image interchange. Finally, the hardware of panorama technology and the demand for panoramic picture search have been broadened in the application with the development of the virtual tour at the College of Normal University. Virtual tour school building, panoramic image production, and mosaic design all take practical considerations into account. The novelty of this study lies in how SketchUp8.0 software will be used to create the geometry of a 3D virtual scene and how cylindrical panoramic images based on an image of constructing a 3D virtual scene organically combine in together and create a panoramic image that can be as the change of seasons in the real scene and realtime change, enhancing the sense of the reality of the system and user immersive [14, 15].


Display design has undergone fresh alterations as a result of digital media technologies. We can see the shadow of display design whenever there is a change in structural technology, fashion design, or even social ideas. The interaction between the audience and the works receives increasing focus in the virtual reality of digital media art building. By engaging with the gadgets in the virtual realm, the audience can contribute feedback to the works of art in accordance with their own aesthetic experiences and transform into the creative subject to produce works that suit their own aesthetic preferences and ideals. The effectiveness of information transmission can only be realised if the pleasing aesthetic experience prompts emotional involvement in the viewer's perception. Implicit, soft, and poetic emotional care in visual communication will not negatively affect the feedback of information.

The colour model of an image in digital media refers to an abstract mathematical model that explains how to represent an image's colour using a collection of numbers. According to their functional properties, images can be categorised into three different colour model systems. One is the visual colour model system, which uses the colour determined by how the model is perceived by human eyes. A colour model system used for purely theoretical study and colour calculation is referred to as a computer colour model, sometimes known as a colorimetric colour model. Industrial colour model systems, such as image display systems, video signal transmission systems, and colour information storage systems, are primarily appropriate for realworld engineering applications and standards. Although these colour models' definitions are typically identical, they might each have a unique function in various applications.

There is a lot of digital information in the created virtual environment. The original aesthetic experience is altered by the computer interface and style options offered by this digital information, and this longing and intoxication will unavoidably alter people's aesthetic experiences. By incorporating digital media art into display design, existing concepts and models of display space are challenged, and new display spaces are produced. The presence of objects and spaces for display is a requirement for design, thus there must be room. A spaceconstrained display is limited to an armchair strategist. Therefore, the ability to design an acceptable space is crucial for demonstrating the design's overall impact and the intended communication goal.

Participants' interactive interaction with digital media art has given them a new perspective on how to appreciate and comprehend works of art. The physical and psychological alterations of the audience in virtual space will have an impact on people in the actual world, including the artists and those who are experiencing art. The impact of digital media technologies has changed the course of contemporary display design. It was only intended as a showcase for watching prior to the development and for experiencing following the development. Both in terms of structure and content, experiential display differs from traditional display. In conventional exhibition design, there is no connection between exhibitors and creators. In experiential display design, a type of digital media art show design, individual participation is more crucial. A range of sensory systems, such as sight, smell, hearing, and touch, can be used by visitors to engage with the works, which can then operate to form the bulk of the display.


Modern science and technology, image art, light movement, sound movement, large-scale display art design, environmental plastic arts, indoor and outdoor light environment design, etc. are all included in the comprehensive plastic art known as digital media art design. High-tech is used and praised by digital media, which also has strong timeliness, networking, and faster speed. It is a brand-new type of art that captures the spirit of the moment, offers fresh ways for art to be expressed, considerably widens the semantic range of art, and denotes the latest development in art design. At the moment, VR is developing very quickly, and digital media artistic creation is receiving a lot of support. We can display this artistic output in a more varied and comprehensive manner if we can get over the earlier restrictions on this creative approach.

A wider platform for fostering imagination and originality in digital media art has been made possible by VR. On the basis of comprehending the philosophy of virtual reality art creation, artists should increase their technical studies, master the means of contemporary digital media creation, and provide spectators with more expressive and moving visual effects. Virtual reality offers a very large canvas and the capacity for creative creation of three-dimensional environment. From the standpoint of the theory of artistic creation, artists should use various VR technologies wisely. By presenting virtual reality, they can improve viewer engagement with artworks, heighten the sense of realism, and improve communication. As a result, contemporary digital media art will be better able to express its aesthetic qualities and values as virtual reality develops.

Conflict of Interest





  1. Forestal J (2017) the architecture of political spaces: trolls, digital media, and deweyan democracy. Am Polit Sci Rev 11: 149-161.
  2. Google Scholar

  3. Romer D, Moreno M (2017) Digital media and risks for adolescent substance abuse and problematic gambling. Pediatrics 140: S102-S106.
  4. Indexed at, Google Scholar, Crossref

  5. Reyna J, Hanham J, Meier P (2018) The Internet explosion, digital media principles and implications to communicate effectively in the digital space. E-Learning and Digital Media 15:36-52.
  6. Indexed at, Google Scholar, Crossref

  7. Crotty RM (2021) Book review gabriele Balbi and Paolo Magaudda, A history of digital media: an intermedia and global perspective. Mobile Med Commun 9:151-152.
  8. Google Scholar

  9. Reyna J, Hanham J, Meier P (2017) taxonomy of digital media types for Learner-Generated Digital Media assignments. E-Learning and Digital Media 14: 309-322.
  10. Indexed at, Google Scholar, Crossref

  11. Donahue J, Hendricks LA, Rohrbach M (2017) Long-term recurrent convolutional networks for visual recognition and description,” IEEE Transactions on Pattern Analysis and Machine Intelligence 39: 4, 677-691.
  12. Indexed at, Google Scholar, Crossref

  13. Forster C, Zhang Z, Gassner M, Werlberger M, Scaramuzza D et al. (2017) SVO: semi direct visual odometer for monocular and multicamera systems,” IEEE Transactions on Robotics 33: 249-265.
  14. Google Scholar

  15. Muszkieta M (2017) A vibrational approach to edge detection,” Inverse Problems and Imaging 10: 499-517.
  16. Indexed at, Google Scholar

  17. Liu X, Zhou F (2020) Improved curriculum learning using SSM for facial expression recognition. The Visual Computer 36: 1635-1649.
  18. Google Scholar

  19. W. Zhu (2020) Study of creative thinking in digital media art design education. Creative Education 11: 77-85.
  20. Indexed at, Google Scholar

  21. Ning G (2022) the impact of energy industry structure adjustment on digital media application technology. Energy Reports 8: 1463-1471.
  22. Indexed at, Google Scholar

  23. Angus I (2017) Critical theory of digital media Foundations of Science 22: 443-446.
  24. Google Scholar

  25. Qian J (2022) Research on artificial intelligence technology of virtual reality teaching method in digital media art creation. J Int Tech 23: 125-132.
  26. Indexed at, Google Scholar

  27. Zheng C, Johnson TV, Garg A, Boland MV  (2019) Artificial intelligence in glaucoma Current Opinion in Ophthalmology 30: 97-103.
  28. Google Scholar

  29. Chen H, Lu F, He B (2020) Topographic property of back propagation artificial neural network: from human functional connectivity network to artificial neural network. Neurocomputing. 418: 200-210.
  30. Google Scholar, Crossref

Copyright © 2023 Global Media Journal, All Rights Reserved