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Major Project 2 | Task: Project Development

03.02.2026 - 22.03.2026 / Week 1 - Week 7
Khu Ying Ying / 0357306
Major Project 2 / PRJ64804 / Bachelor of Design (Honours) in Creative Media
Task: Project Development

TABLE OF CONTENTS







INSTRUCTIONS

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TASK: PROJECT DEVELOPMENT

Week 1 (03/02/2026)

Requirements:
  1. Carry on from Major Project 1 as the Final Year Project (FYP), continuing to develop and refine the design into a comprehensive outcome with complete and cohesive final deliverables.
  2. Ensure all outcomes match the target audience and field.
  3. Follow the provided framework and attend weekly consultations, showing consistent progress and obtaining supervisor approval.
    • Project Exploration (20%): Update the Project Management Document weekly (individual/group).
    • Project Execution (30%): Submit an online folder containing progressive working files (visual elements & media assets).
    • Project Presentation (10%): Upload the final presentation deck in PDF format with proper file naming.
    • Final Project (40%): Submit an online folder (Google Drive/OneDrive/others with editor access) or upload to Teams, including all final outputs (design files, prototype, video, etc.) with proper naming and a README if necessary.

Submissions:
  1. Group: Submit the physical output on 17/03/2026 (Tuesday) after the project presentation.
  2. Group: Submit the Project Management Document, Google Drive link, and final presentation deck on Teams before 29/03/2026 (Sunday).
  3. Individual: Submit your blog link in Google Sheets.

Progress:

Project Overview & Development Progress

Project Overview:
As this is an extension of Major Project 1, we continued to work on our card game project, "Cerita Rakyat: Tales of Olden," with the same four members: 
  1. Aisya Diva Anwagodsa
  2. Lizzie Tanaka
  3. Sheryne Axellia Putri
  4. Khu Ying Ying (me) 
The project focuses on preserving and promoting Indonesian culture by transforming folklore into a collector card deck with engaging gameplay, allowing younger audiences to learn moral values and character archetypes interactively. Our goal is to produce a complete 2-in-1 collector card deck, supported by both artefacts: 
  • Physical Artefacts: Card deck, manual, packaging, posters, and merchandise.
  • Digital Artefacts: Social media promotion, website, and exhibition mockups.


Task Delegation:
Before the semester started, Sheryne set up a Miro board to track our project timeline and progress. We then delegated tasks so we could try to finish the work before the deadline. Here’s a quick overview of what each of us focused on:
  1. Aisya: Cards, coloring, social media, posters.
  2. Lizzie: Cards, packaging, coloring, social media, posters.
  3. Sheryne: Lead line art and rendering, website.
  4. Ying Ying (me): Concept art, merch drawings.
Figure MP2.1: Task Delegation, Week 1 (03/02/2026)

Figure MP2.2: Miro, Week 1 (03/02/2026)


Character Design:
We had 41 character sketches to complete, but we held off on coloring them as the lecturer’s feedback is essential to guide our direction. To stay ahead and reduce our workload later on, Sheryne and I decided to start drafting some sketches in advance. We also refined and finalized the list of selected characters, then distributed them among ourselves to work on individually. Our ideal plan was to complete all drafts by Week 1 so we could move efficiently into the line art and finalisation stage.
Figure MP2.3: Selected Characters by Sheryne and me, Week 1 (03/02/2026)

The following shows the concept art I created.
Figure MP2.4: Concept Art by me, Week 1 (05/02/2026)

Ms. V suggested exploring a two-color approach to save time and enhance character visibility. However, after experimentation, it did not align with our overall branding. Following consultation with Mr. Kanan, we refined the color palette by using brighter tones and higher contrast to better emphasize the characters within the illustrations.
Figure MP2.5: Character Design Development by Sheryne, Week 2 (10/02/2026)

After that, I created a character design sheet in Canva to document each character's development. It includes details such as their characteristics, cultural inspirations from different regions, and their poses and facial expressions, supported by visual references. I also provided color palettes covering skin tone, hair, eyes, clothing, background, and lighting. Although I’m unsure whether it will be used later for the coloring stage, it serves as a clear explanation of my design process.
Figure MP2.6: Character Design by me, Week 1 (06/02/2026)

Here are the line art and colored illustrations created by Sheryne. Check Miro or her blog for the full breakdown.
Figure MP2.7: Line Art & Colored Illustrations by Sheryne, Week 6 (09/03/2026)

Week 2 (09/02/2026)

Design Development & Asset Production

Merchandise:
Following the concept art, I moved on to merchandise sketches. At Sheryne's suggestion, I’m creating 7 sticker designs based on the style of my previous MP1 merch. The creative direction remains focused on a chibi and humorous aesthetic.
Figure MP2.8: Major Project 1 Sticker Sheet by me, Week 2 (09/02/2026)

To make the collection more engaging, I decided to pair characters with narrative parallels:
  1. Malin Kundang & Darmi: Both were unfilial children who eventually turned into stone.
  2. Princess Laiamon & Biwar: Brave heroes who stood their ground against their foes.
  3. The Magical Crocodile & The Dragon: Representing the antagonists of their respective stories.
  4. Meme: The desperate expressions of Malin Kundang and Darmi during their "stonification."
    Here are the initial sketches I did for the merch stickers.
    Figure MP2.9: Merch Sketches (Initial) by me, Week 2 (11/02/2026)

    Sheryne mentioned that the original eye design did not align with her artistic style, so she developed her own version of the eyes to better suit the chibi aesthetic. During this process, I also observed that several characters had evolved from their original Miro versions, including Darmi, Biwar, Princess Laiamon, and the dragon. To maintain visual consistency across the characters, I followed her revised design direction and redrew the eyes in Ibis Paint X. This updated version was then applied to the final digital illustrations to ensure a cohesive chibi style throughout the project.
    Figure MP2.10: Reference Chibi Eyes by Sheryne, Week 4 (23/02/2026)

    Figure MP2.11: Merch Sketches (Final) by me, Week 4 (23/02/2026)

    Then, Lizzie compiled the illustrations into a sticker sheet, integrating additional supporting designs to create a complete and cohesive set. She also created the keychains with the final sketches as the keychains contain chibi characters and logos. Ms. V also suggested that we include a bundled presentation to create a more memorable and engaging experience for the receiver. In response, we developed a bundle that includes an envelope and a stamp to complement our project.
    Figure MP2.12: Merchandises, Week 4 (23/02/2026)


    Logo:
    We suggested refining the logo as the previous design appeared too luxurious and somewhat dated, which did not align with the project’s intended direction. As our target audience is Gen Z, we aimed for a more modern and approachable visual identity. We initially explored a monogram logomark using the initials “C” and “R” to replace the icon, but the outcome was not visually effective. As a result, the logo typeface was changed from serif to sans-serif to better reflect the desired tone. This refinement was handled by Aisya and Lizzie, with further details available in their respective blog entries.
    Figure MP2.13: Logo Refinement by Aisya and Lizzie, Week 2 (09/02/2026)


    Card Layout and Patterns:
    We also incorporated five batik-inspired patterns representing Java, Sumatra, Kalimantan, Sulawesi, and Papua, each reflecting their respective symbolic meanings. These patterns were applied as card backgrounds and were developed by Aisya, with further details available in her blog. 
    Figure MP2.14: Card Patterns by Aisya, Week 2 (09/02/2026)

    For the card layout, Mr. Kanan mentioned that the frame and overall design were overpowering the illustration, and that a good card should guide the viewer’s eye to the character first, followed by key details such as the name, personality, and description, with the borders and ornaments supporting the artwork. Based on his references, I explored and sketched a revised layout. However, after attempting to digitize the third version, Lizzie noted that the card’s narrow size caused the illustration to appear too zoomed in, and since neither the canvas nor card size could be adjusted, we decided to retain the previous version with only minor refinements.
    Figure MP2.15: Card Layout Exploration by me, Week 2 (11/02/2026)

    So, the card design evolved from a more decorative layout to a simplified version that better prioritizes the illustration. Unnecessary elements were reduced to improve clarity and balance, while adjustments to spacing and layout helped create a clearer visual hierarchy, guiding the viewer from the character’s name to the illustration and then to the description. This refinement was done by Aisya and Lizzie; see their blogs for more details.
    Figure MP2.16: Card Layout Development by Aisya and Lizzie, Week 2 (13/02/2026)


    Book and Cards Content:
    Our game includes: 
    1. Cards:
      • Character Cards: Story title, character name, personality, and description.
      • Narrative Cards: Provide a beginning and ending for each round.
    2. Book:
      • Folklore: Story title, character name, region, summarized story, and moral value.
      • Gameplay: Introduction, winning condition, game components, and step-by-step guide.
    Aisya and Lizzie were mainly responsible for summarizing the content, with Lizzie leading the development towards the end of the project. Further details can be found in their blog entries.
    Figure MP2.17: Books and Cards Content by Aisya and Lizzie (PDF), Week 5 (02/03/2026)


    Booklet:
    As the booklet serves as both a game manual and an introduction to the folklore, the initial layout in MP1 presented the card, story, and moral in a compact format, which made it less readable. In MP2, the layout was revised to use two pages per story for a clearer, more reader-friendly structure. 
    1. Page 1: Present the story title along with the characters’ names and personalities. 
    2. Page 2: Present the summarized story and its moral value.
    An additional mini booklet was also created for the regular packaging, which only fits the cards. This version contains the game rules and a QR code that directs players to the Cerita Rakyat official website for more information about the folktales. This part was handled by Lizzie, with further details available in her blog.
    Figure MP2.18: Booklet Layout Development by Lizzie, Week 6 (09/03/2026)


    Packaging:
    Our initial idea during MP1 packaging was to create a more premium look with two slots available to store the character and narrative cards.

    In MP2, several changes were made as the brand direction shifted towards a more approachable and user-friendly concept. As a result, we decided to develop two types of packaging: special packaging and regular packaging. The key difference is that the special packaging uses a magnetic rigid box that contains all game components, including the character cards, narrative cards, a detailed booklet, and an hourglass. In contrast, the regular packaging consists of two simpler boxes, one for character cards and one for narrative cards, each accompanied by a mini booklet containing basic game rules and a QR code linking to the Cerita Rakyat official website.

    The special packaging focuses on a more complete and premium user experience, with organized compartments for each component. Meanwhile, the regular packaging is designed to be more compact and practical, allowing users to carry only the essential game cards. This section was handled by Aisya, and more detailed documentation can be found in her blog.
    Figure MP2.19: Packaging Development by Aisya, Week 6 (09/03/2026)

    Week 3 (16/02/2026)

    Gameplay & Website Development

    Gameplay:
    For the game system, we made improvements as the original gameplay lacked challenge and had no clear winning condition. To address this, we introduced an activation number to enhance competitiveness. The activation number represents how many times a card must be used before it can be withdrawn. For example, if a character card has an activation number of 3, the player must use it three times before removing it from their deck.


    Website:
    For the website, I was responsible for creating the website flowchart. To ensure a clearer direction, I first developed the content structure before mapping out the flow. The initial version combined commercial and storytelling elements. However, after discussion with team members, we shifted the focus to a storytelling-based approach, as the project does not involve actual product sales, and e-commerce features were unnecessary within the scope.

    As a result, the website direction was revised to a brand and storytelling (informational) format, presenting the brand identity, background story, and game information in a structured way. The website flow is organized as follows: 
    1. Header (Navigation) 
    2. Home (Brand Hook)
    3. About Us (Background, Objectives, Introduction to Cerita Rakyat, Cultural Inspiration from 5 Regions)
    4. Stories & Characters (Region Tags + Character Preview)
    5. Gameplay (Components + Rules)
    6. Footer (Quick Links + Copyright)

    Below are the two versions of the website direction, along with my initial draft, which includes layout explorations.
    Figure MP2.20: Website Wireframe Content Design (PDF) by me, Week 3 (16/02/2026)

    Figure MP2.21: Website Wireframe Exploration (Draft) by me, Week 3 (16/02/2026)

    Lizzie recommended using Framer for website design, as it allows the final design to be directly published as a functional website. However, I chose to use Figma instead, as I was more familiar with it for website-related design. Although I had not used it for some time, its interface is similar to Adobe Illustrator, making it relatively easy to use. A UI/UX friend also suggested starting with low-fidelity (lo-fi) wireframes before progressing to high-fidelity (hi-fi) designs, as this approach helps streamline the process of applying colours, images, and interactive elements.

    I initially worked on the Navigation, Homepage hero section, and About Us content. After Sheryne developed her version, I aligned my design accordingly. I also explored the Gameplay and Footer sections. Once the overall structure was finalized, we proceeded to develop the high-fidelity version in Figma.
    Figure MP2.22: Website Wireframe Exploration (Lo-Fi) in Figma by Sheryne and me, Week 4 (23/02/2026)

    Figure MP2.23: Website Wireframe Exploration (Hi-Fi) in Figma by Sheryne and me, Week 5 (02/03/2026)

    Figure MP2.24: Figma (Prototype) by Sheryne and me, Week 5 (02/03/2026)

    After completing the high-fidelity design in Figma, we transferred the prototype into Framer, where we encountered several challenges. Framer’s interface and component system were initially difficult to navigate, and handling breakpoints was particularly frustrating, as changes to one breakpoint would affect others. To solve this, I duplicated the entire document into a separate tab to manage breakpoints independently, which greatly improved the workflow. With the help of tutorials and continuous adjustments, we were eventually able to complete the website successfully.
    Figure MP2.25: Framer by Sheryne and me, Week 7 (16/03/2026)

    Week 5 (02/03/2026)

    Social Media & Promotion

    Social Media Contents:
    Our main social media platform is Instagram, which we use to raise awareness of both the game and the folklore. As our target audience is Gen Z, the content is designed to be relatable and engaging. The content includes: 
    1. Teasers
    2. Introduction to Cerita Rakyat
    3. Regional trivia
    4. Meme-style posts
    5. Behind-the-scenes content
    6. Illustration process posts
    7. Humour-based content
    8. Real-life photography to balance the illustration-heavy visuals. 
    Overall, the goal is to create content that feels more relatable and human-centred. More details can be found in Lizzie’s blog.
    Figure MP2.26: Instagram Post by Lizzie, Week 7 (16/03/2026)


    Promotional Posters:
    For the promotional posters, the direction focuses on highlighting the game and promoting the special packaging. This part was handled by Aisya and Sheryne, and more details can be found in their blogs.
    Figure MP2.27: Promotional Posters by Aisya and Sheryne, Week 6 (09/03/2026)

    FINAL SUBMISSIONS

    Week 7 (17/03/2026)
    03.02.2026 - 22.03.2026 | Week 1 - Week 7

    Links:
    1. Google Drive: Link
    2. Website: Link
    3. Instagram: Link
    Figure MP2.28: Final Submission of Major Project 2 - Cerita Rakyat (Canva), Week 7 (17/02/2026)

    FEEDBACKS

    Week 1 (03/02/2026)

    Specific Feedback: Two packaging concepts are approved (regular and special). The manual has inconsistent font thickness and cannot be fully evaluated until branding is finalized. Logo improvement is acceptable; proceed and finalize by next week, though the current logo is still acceptable if needed. The new illustration style is preferred, and all illustrations should be completed by Week 4 (Monday).

    General Feedback: Complete by Week 4 with 2 additional weeks for printing. Prioritize physical items first, then focus on digital outputs (Instagram & website) in the last 2 weeks. Prepare at least 2 printed copies for submission and exhibition. Exhibition materials will use digital mockups (bunting, floor plan). Merchandise includes 5 keychains and 6 sticker designs.

    Week 2 (10/02/2026)

    Specific Feedback: Packaging idea is acceptable; refer to the provided list of print vendors. For the manual, try contact sheet printing for the new size. Table of contents, introduction, and gameplay are fine. Page numbers should be smaller or lighter. If the book size increases, increase body text by 1pt and reduce character titles by 1pt. Dividers are fine, but avoid overuse. The logo looks better with a different font. Illustration style appears slightly flat; use limited color (either background or character) while keeping the rest in black and white, and maintain earth tones.

    General Feedback: The project should be completed by Week 5, and overall progress is already satisfactory.

    Week 3 (17/02/2026)

    Specific Feedback: (Chinese New Year)
    General Feedback: (Chinese New Year)

    Week 4 (24/02/2026)

    Specific Feedback: Packaging must include story title, collection name, creator name, and selected story list (side for regular box, bottom for special box). Keep packaging simple, as the cards are the main concept. The special box thickness should be 5mm to support the tray. For the manual, reduce or lighten page numbers and fix ragging; the layout is improved. Merchandise packaging is optional but recommended (e.g., envelope with logo sticker) to strengthen branding. Illustration direction and card template are approved.
    General Feedback: The overall direction is on the right track.

    Week 5 (03/03/2026)

    Specific Feedback: Packaging design is good to go, and merchandise packaging can be added using an envelope. The manual is also good to go. For merchandise, the sticker designs are approved and the pouch looks nice. Illustration work should continue. For the website and social media, create content to introduce the team and explain the purpose behind creating Cerita Rakyat for both Instagram and the website.

    General Feedback: Progress is good.

    Week 6 (10/03/2026)

    Specific Feedback: The change from rigid box to art card material for the regular packaging is approved, and the regular packaging design is also approved. The website looks good.

    General Feedback: All good from Ms. Vitiyaa.

    REFLECTIONS

    Experience
    Looking back, our workflow could have been more efficient if we had applied a stronger system and better time management from the beginning. Instead of working in a more ad-hoc manner, we could have first aligned as a team to establish a unified visual style, then clearly divided tasks across different stages such as sketching, line art, and coloring. With a more structured pipeline, each member would have clearer roles and workflow, which would likely reduce revisions and improve consistency across the final outputs. This approach could have helped us work more smoothly and saved time in the long run.

    In addition, reflecting on our time allocation, we may have spent more effort on the website than necessary, considering that it is not the main focus of our project. While the website serves as a supporting platform, prioritizing it too heavily may have affected the time and energy available for core physical components such as packaging, illustrations, and merchandise.

    It would also be helpful if updates could be communicated more clearly within the team. In some cases, I had to rely on Miro to stay updated, such as the gameplay section, which I only became aware of through the board during Chinese New Year. Moving forward, more consistent communication would help ensure everyone is aligned throughout the process.
    Observation
    There was more discussion happening privately rather than in the group chat, which resulted in limited visibility for me and made it difficult to stay fully updated throughout the process. As a result, some decisions and updates were not consistently shared with all members. This led to situations where certain progress could only be understood by checking platforms like Miro instead of through direct communication.
    Findings
    Having clearer communication and a more structured workflow would help the team work more efficiently and consistently. If the team had established a unified visual direction earlier, with clearer task division and regular updates, it could have reduced confusion and repeated work. It is also important to prioritise the main deliverables over supporting elements like the website, so more time and effort can be focused on the core physical outputs.

    QUICK LINKS


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