Major Project 2

week 1 - week 7

Sheryne Axellia Putri / 0367267 / Bachelor of Design (Honours) in Creative Media
Major Project 2

Final Project

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TABLE OF CONTENTS

1. Instructions

    - Week 1

    - Week 2

    - Week 3

    - Week 4

    - Week 5

    - Week 6

2. Final Submission

3. Feedback

4. Reflection

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          INSTRUCTIONS          

Figure 1.1 Module Information.

• Group Members' blog links:
• Aisya
• Ying Ying
• Lizzie

Week 1  03.02.2026

• Illustration

About two weeks before the Major Project 2 module began, I discussed with Ying Ying in our group chat the need to create initial character sketches. We agreed that it would be more consistent if one person handled the final lineart for all characters and all of us can do the coloring together. To divide the workload, Ying Ying was responsible for 18 characters, while I worked on 22 characters.

• Most of the characters I completed were based on initial sketches I had prepared, with further refinements made around Weeks 4–5. The remaining nine characters were completed without preliminary sketches.

Figure 1.2 Character sketches.

• Sketches that were done by Ying Ying, before week 2.

Figure 1.3  Ying Ying's character sketches.

Since I was not fully satisfied with how the illustrations turned out in MP1, I took this opportunity to revisit and evaluate my previous work more. Looking back at it, I felt that the style did not fully capture the depth and visual appeal that I wanted to achieve. Because of this, I decided to explore a new direction in terms of illustration style.

While developing this new approach, I made sure that it still aligned with the Cerita Rakyat theme, maintaining its cultural essence and storytelling quality. At the same time, I aimed to improve the overall visual impact by refining elements such as line quality, composition, and character expression. This shift allowed me to push my work further, not only technically but also creatively, as I became more intentional with my design choices.

• Old

Figure 1.4 Character illustration from MP 1.

So, I traced my old illustration, and see what's different now, while also trying to maintain the style. 

• New (Sketch)

Figure 1.5 MP2 character direction (sketches).

After adjusting the facial features and refining the line quality, I suggested to the group that we keep the background lineart simple and thin, while making the characters’ lines thicker with some shadows. This came from an issue I noticed in the earlier illustrations; they didn’t feel special enough to stand out as game cards. So I proposed making the lineart cleaner and neater overall, so the characters can stand out more and the design feels more polished.

• New (Lineart)

Figure 1.6 MP2 character direction (lineart).

This is the first completed line art for the character. It was somewhat challenging to adapt, and I had to be careful with the placement of shadows to ensure they did not overpower the character but instead helped highlight them. Initially, I was concerned that the background might look too plain without stronger shadows, but I have yet to see how it will appear once the colors are applied.

• Timeline

Before week 1, we created a timeline in Miro to list the tasks we want to prepare for MP2. 

Figure 1.7 Miro.

Figure 1.8 Group tasks and timeline.

We also delegated our tasks (there are some refinements after week 5-6)

Figure 1.9 Task delegation.

• Logo and Branding

Lizzie suggested changing our logo, because it is too compact for our 'engaging'  card game. So this time we want to emphasize our branding more, to have Cerita Rakyat to look more 'approachable.'

• Old logo

Figure 1.10 Old logo from MP1.

For this week, we continue to work on the content for the character cards, narrative cards, and the manual (Lizzie and Aisya), while also doing illustration sketches and continuing the lineart progress. My target is to finish the lineart at least 4 in a day, so in a week we could have 20 linearts finished (well, let's just say I couldn't hit my target, lol).

Week 2  10.02.2026

• Illustration

I managed to finish some of the linearts. At first, it was quite challenging to get used to this style since I don’t usually work with clean lineart. I spent some time practicing in my sketchbook first to get more comfortable with it before continuing digitally.

Figure 1.11 Lineart progress.

• Logo

Our first idea to make remake the logo is to make a monogram between the letter C and R, Lizzie did some sketches and  concept of this idea, but later on, we decided it's too playful for our card game.

Figure 1.12 New logo ideation.

For the final changes, we updated the typeface and logo positioning. We switched to a condensed sans-serif to make the brand feel more approachable, and adjusted the 'Gunungan' icon placement for better visual balance.

Figure 1.13 Cerita Rakyat's new logo.

The new logo also means that our card game is not a luxury brand, but it is still could be seen in high quality. We also discussed how to integrate our card design and illustration to fit with our branding.  Lizzie suggested to contact Mr. Kannan to gain his feedback regarding our illustration style to fit with our brand.

Before his feedback, I did some experiments on the coloring.

Figure 1.14 Character coloring ideation.

The left one is more stylized, having less shading and using monochrome background colors. The right one is my initial direction. After the feedback from Mr. Kannan, I explained about our  card game and the changes of our card game and branding, and how we were so worried if our illustration and card design wouldn't fit for our brand. 

After the feedback from Mr. Kannan, he gave me some insights about how to do the anatomy and simple color shading. Here he explained how I can use a soft brush to apply on top of the character and place them as 'overlay' or 'soft light'. 

Figure 1.15 Coloring feedback from Mr. Kannan.

You can see the difference between my coloring and his adjustments. He also suggested that if a character is holding an item, it should be brighter to act as a focal point. From this point, our initial plan was to divide the coloring work among the four of us. However, I suggested handling the coloring on my own because, based on Mr. Kannan’s feedback, there are many factors to consider when choosing the color palette and establishing the ambience for each character. I felt that it would be more consistent and effective if I managed the coloring individually.

• Merch - Sticker sheet

I also asked Mr. Kannan if the style and direction which were sketched by Ying Ying would with our branding, he said the chibi version of the characters are fine, as long as the aspect of the art style from the cards are still there. 

Figure 1.16 Chibi characters before feedback.

I suggested to Ying Ying to make the shape of the characters to look like the one I made (left). Because the eye shape is a simpler version of the original art style.

Figure 1.17 Chibi characters after feedback.

Ying Ying finished coloring the chibi characters, which later on made into a sticker sheet by Lizzie, the position of the characters is supposed to be beside each other, ex: Putri Laiamon with crocodile, Malin Kundang with Darmi. To show the connection between the characters with each other, but because of the paper size, we decided to place the characters like the picture below.

Figure 1.18 Chibi characters sticker sheet.

• Card Design

From Mr. Kannan’s feedback, I asked about our card design, and he suggested we look at tarot or magical card references, where the focus is more on the illustration instead of having the frame cover most of it.

Figure 1.19 Magical cards.

Ying Ying made a sketch of various card designs we could do. We discussed and voted for design #3. Lizzie started to digitize the sketch, and turns out the width of the sketch and our original it card size are different, and when Lizzie followed the shape of the frame from the sketch, it doesn't fit with with our width.

Figure 1.20 Card template sketches.

We then went for our original design (left) (which were refined by Aisya before). And Lizzie elarge the frame so we can have more space for the illustration (right).

Figure 1.21 Card template final.

Week 3  17.02.2026

This week, we continue to meet up with each other during CNY, which limits us to have feedback from our lecturer. The booklet and card content were further developed by Lizzie and Aisya, through continuous editing and revisions to improve clarity for our gameplay. The card template design was finalized after incorporating feedback, ensuring better visual balance and emphasis on the illustrations. Packaging measurements and overall design were also in progress, with both regular and special box prototypes tested using paper by Aisya to evaluate structure.

The gameplay system was refined and finalized to ensure a clear and engaging user experience, alongside the initial development of the booklet design and layout. Furthermore, the website flowchart and content structure are in progress.

• Website

Ying Ying has finished the content for our website. Initially, we discussed whether the website should focus on e-commerce to highlight purchasing our card game. However, I suggested developing it as a static informational website that focuses on the context of cerita rakyat and the folklore stories. This is because the purpose of the website is to act as a digital guide for our regular packaging, where players can scan the QR code from the guidebook to access the website.

Figure 1.22 Flowchart.

I created a draft of the website flowchart to help Ying Ying better visualize the structure, allowing us to proceed with the wireframe. She then refined and improved the flowchart further. For the wireframing process, we decided to use Figma, as it is a tool we are both familiar with. We began with low-fidelity wireframes before moving on to high-fidelity designs to determine how best to apply our brand’s color palette.

• low-fidelity

Figure 1.23 Low-fidelity wireframe.

• high-fidelity

Figure 1.24 High-fidelity wireframe.

Ying Ying also made the buttons functional in the wireframe and worked on the layout for the gameplay section and footer. After finalizing the design, we moved to Framer so the website could become a fully functional platform. We used assets from Figma to export the element layers into Framer. However, both Ying Ying and I were unfamiliar with using Framer, which led to several challenges as we adapted to the tool. We faced additional difficulties when trying to make the buttons interactive and ensure the layout was responsive across different screen sizes.

Figure 1.25 Region pattern for website elements.

There were some adjustments to the region section, in which each region’s patterns were placed within circular elements to better complement the background colors.

• Illustration

During this period, I continued working on the line art for the illustrations. Although my initial plan was to complete four illustrations per day, I was unable to meet this target consistently. On most days, I could only complete around two to three pieces, as the line art process required significantly more time than expected. This stage demanded a high level of concentration and precision, especially in maintaining clean lines and ensuring the details were accurate.

Compared to coloring, which is more fluid, the line art process was more technically demanding and time-consuming. As a result, my workflow had to be adjusted to maintain quality rather than speed. At the same time, I was also managing responsibilities related to the website development.

• Packaging

Aisya continued working on the project by developing the dielines for both the special and regular packaging. Further details of her progress can be found in her blog.

• Manual Book

Aisya and Lizzie were still working on filling the content for the cards (narrative and character description) and story which also be used for the manual book, they made sure the word limit is 200.

Figure 1.26 Manual book content.

Lizzie also started to explore more on the layout of the manual book, while also trying to fit both of the character profiles with the story to look balanced

Figure 1.27 Manual book layout draft.

Week 4  24.02.2026

• Illustration

Figure 1.28 Lineart progress.

I finished 34 linearts during this week.

Figure 1.29 Coloring progress.

For the coloring, it's easier for me to catch up. Though in this week I really wanted to finish with my illustration tasks faster so I can focus more on doing the website and helping my group members do other design tasks.

• Manual book

The content for our book and cards is done, Lizzie fixed the layout for the manual, we decided the layout of the characters to look like the one below, there's one specific page that was confusing to put in place to, the Ampat Raja stories have 5 characters, while othes have mostly 2-3 characters. From feedback and revision, Lizzie finalized the layout for the manual book, and the use of elements inside.

Figure 1.30 Manual book layout #2.

• Merch - keychains

Figure 1.31 Keychain logo designs,

For keychains we wanted to use our logo and 'gundungan' Lizzie made 2 variations of the design, using the blue and red from our branding. The other keychains we use the chibi characters.

• Merch - bookmark

Figure 1.32 Bookmark designs.

The bookmark was prepared and made by Lizzie, including a bookmark as one of our merch items aligns well with both our branding and the concept of our card game. Since the project is centered around storytelling, particularly cerita rakyat, the idea of incorporating a book-related element strengthens the overall theme.

Week 5  31.02.2026

• Illustration

My progress during this week was slower than usual because there were some character sketches that I needed to remake to better fit the story. There was also feedback on the Buto Ijo illustration, as the colors were too muted and darker compared to the rest.

• Website

In order to make the website adaptable to different devices, Ying Ying and I initially tried to follow a tutorial by using stacks so that the elements could adjust automatically according to screen size. However, since we used assets imported from Figma, the elements were not able to resize or move effectively on their own.

Because of this, I suggested creating different versions of the layout for various screen widths. Ying Ying worked on the tablet version in her own file, as using our shared file caused the original desktop layout to shift unexpectedly for her, while it remained stable on mine. I focused on the phone version, with some help from Ying Ying, particularly for the story section.

We faced many problems during this process. For example, when we viewed the website on our laptops, it appeared different because each of our screens has a different size. Additionally, when we tried to center certain elements, they did not appear properly aligned in “view” mode.

Strangely, the results in Framer sometimes seemed inconsistent from day to day. For example, after fixing the alignment, it would look incorrect on my laptop, but the next day, without making any changes, it would appear fine.

To make the buttons functional in Framer, they need to be created as components with different states, such as hover interactions. Since each component is tied to a specific size for the desktop version, we created separate versions of the buttons for different devices; desktop, tablet, and phone. However, there are still adjustments needed, especially to ensure consistency across different laptop screen sizes.

Week 6  07.03.2026

• Illustration & character cards

On Monday, I finally finished all the coloring and line art for the characters. There were some refinements made along the way, for example, I adjusted certain colors for some characters to ensure they did not look too different from the others. When compiled together, as shown in the image below, each character still maintains its own unique dominant color and ambience.

Lizzie then compiled all of our files to send to the printer, especially for the dieline packaging and the cards.

• Poster

Aisya and I worked on the poster. After finishing the character illustrations, I was finally able to focus on other tasks. The idea of the poster is to promote the gameplay of our card game, as well as highlight the special packaging box designed by Aisya.

For the first draft, we used a real-life table texture and applied it to the background, as shown below.

The second idea was to use our signature yellow color as the main background. I shared this version with my group members, and they preferred this direction as it creates a stronger connection with our social media posts and overall branding. The consistency in color helps make the design feel more cohesive and recognizable across different platforms.

After reviewing the draft, Lizzie suggested by adding more shadows and texture to the cards so they would stand out better against the background.

• Website

As I was still concerned about the quality of our website, I created more versions of the desktop layout by calculating different laptop screen widths at 100%, 115%, and 90% zoom levels. I also developed another version for mobile to ensure it appears neutral and adaptable across most phone devices.

This is important because, during exhibitions, people will likely scan the QR code to access our website. Therefore, it is essential for the website to look professional and properly formatted across different devices, ensuring a good user experience regardless of screen size.

Although there are still some issues with the layout on different phones, even though it is supposed to appear consistent, I am unsure whether these technical problems come from Framer itself or from how I implemented it, as this is my first time using the software.

I did test the buttons before the presentation, but during the presentation, one of the buttons did not work. However, after the presentation, I checked again and it was functioning properly. This reflects one of the issues I mentioned earlier, Framer sometimes produces inconsistent results, where layouts and interactions appear differently from one day to another.

• Stamp stickers

The stamp stickers are used as sticker flakes for our bundles and also as decoration (the bundle progress can be viewed in Lizzie’s blog). My initial idea was to use only the background image from the illustrations. However, the idea later evolved into using the full illustration instead.

In this stage, I explored different sizes for the stamp frames. We agreed on it looks better if the stamp frame looks smaller.

I also experimented with another layout variation, although I felt it did not fit well with the illustration. Since the illustrations are already detailed, they are suitable to be scaled down without needing additional layout changes.

Lizzie then compiled the sticker stamps to the printer, and used the character illustrations that haven't used yet.

• Packaging

Since our original idea for the regular packaging was discarded due to the high cost of a rigid box, we decided to switch to using art card material instead. It was quite challenging to calculate the thickness, as our cards had not been printed yet, and the final thickness could vary depending on the material.

Aisya then revised the dieline for the regular packaging, and Lizzie further refined the back of the packaging by adding more information. The difference between our regular and special packaging is that the regular version is designed as an easy-to-carry travel box, while the special packaging is intended as a gift or collector’s edition. The special version includes additional elements such as a pouch and an hourglass, making it more premium compared to the regular packaging.

The dieline for the special packaging is different from what we are usually familiar with. For a rigid box, each surface and section is not connected; instead, they are assembled and held together by the wrapper or outer covering. This was initially confusing for us, as the printing shop staff did not provide any explanation or guidance, even though we are students and still their clients.

For the finished special packaging, the tray fit the cards too tightly in both width and height, making it difficult to pick them up. To solve this, we added a ribbon so the cards can be lifted more easily. There were also other issues with the packaging that were outside of our expectations. For example, we did not expect the rigid box to have such a glossy finish, as there are other options with a more matte surface that would better suit our minimalist branding.

The printing shop did not inform us about the different types of rigid box finishes or offer any alternatives. Additionally, there were issues with the printed cards, including duplicates of both narrative and character cards. Specifically, the Buto Ijo card had an error in the illustration, where it included the text “art 10,” which was not from our original file. The narrative cards were also slightly wider than the character cards. Considering the amount we paid, the overall quality and customer service provided were not satisfactory.

• Manual book

Since the introduction page for the manual book looked empty, I added an extra illustration of a hand (which was later also used in the compiled card designs by Lizzie). The hand follows a similar style to the one used in our poster, helping to maintain visual consistency across the project.

The QR is inside the manual book, which leads to our website when you scan it.

• Social media

Instagram serves as our main platform to promote both the card game and the folklore behind Cerita Rakyat. The content is designed to feel engaging, relatable, and easy to connect with. Our approach includes a variety of content such as teasers, introductions to Cerita Rakyat, regional trivia, meme-inspired posts, behind-the-scenes moments, and highlights of the illustration process. We also incorporate humour-based content alongside real-life photography to balance the illustration-heavy visuals. Overall, the goal is to create content that feels more personal.

Final Submission - PPT

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          FEEDBACK          

Week 1

General Feedback

• The project should be completed by Week 4, with at least two weeks allocated for printing.
• Priority should be given to important and physical deliverables first.
• Digital outputs such as Instagram and the website can be completed in the final two weeks.
• At least two printed copies are required: one for submission and one for exhibition.
• Exhibition materials (such as bunting and floor plan) only need digital mockups.
• Merchandise requirements include five keychains and six sticker designs.

Specific Feedback

Packaging:

• Both packaging concepts (regular and special) were approved.

Manual:

• There are inconsistencies in font thickness that need to be fixed.
• The overall quality is difficult to evaluate at this stage as the branding is not yet finalized.

Logo:

• The proposed direction for improving the logo is acceptable and can be continued.
• The logo should be completed on the same day and finalized by the following week.
• If time becomes a constraint, the current version of the logo is still acceptable.

Illustration:

• The newer illustration style shows improvement, especially in terms of shadows and line thickness.
• Illustrations should be completed as soon as possible, ideally before or by Week 4. 

Week 2

Specific Feedback

Packaging:

• The packaging concept remains appropriate.
• A list of recommended printing vendors was provided for further exploration.

Manual:

• Test printing using a contact sheet is recommended to evaluate the new proposed size.
• The table of contents, introduction, and gameplay sections are acceptable.
• Page numbers should either be reduced in size or made less prominent in color.
• If the booklet size increases, only increase the body text size by one point.
• Character titles should be reduced by one point.
• Divider designs are good, but should not be overused (especially the folklore frame).

Logo:

• The logo shows improvement when paired with a different font choice.

Illustration:

• The illustrations are becoming slightly flat and overly simplistic.
• It is suggested to experiment with partial coloring (e.g., coloring only the background or character while keeping the rest black and white).
• A more earthy color palette is recommended.

Week 3

No feedback (Chinese New Year break)

Week 4

General Feedback

Overall, the project is on the right track, with clear improvements across different components. The manual book is visually appealing and shows better layout development compared to earlier versions. The overall direction, including illustration and design decisions, is appropriate and aligns well with the concept.

Specific Feedback

Packaging

• The packaging must clearly communicate essential information:
  • Story titles
  • Collection name (e.g., Gold Collection / Volume 1)
  • Manufacturer or creator name
  • List of selected stories
    • Regular box: place on the sides
    • Special box: place at the bottom
• Keep the design simple, as the cards are the main focus of the Cerita Rakyat concept.
• Ensure the special box uses a 5mm thickness for proper structure and support.
• Maintain consistency between packaging and internal content; if the manual uses small text, avoid using overly large font sizes on the packaging.
• A 12pt font size is too large; consider reducing it to around 11pt, 10.9pt, or 11.2pt.
• Keep all elements (logo, text, and graphics) center-aligned.
• Ensure all elements are placed within safe margins and away from folding lines.

Manual

• The current layout is improved and visually stronger than before.
• Page numbers should be smaller or use a lighter color/lower opacity to reduce emphasis.
• Maintain the body text size at 6pt; do not reduce it further.
• Adjust leading and kerning, as some lines appear too tight or uneven.
• Fix ragging issues to improve text alignment.
• Ensure paragraph consistency:
  • Either all paragraphs end with a full stop, or none do.
• Some paragraph blocks appear inconsistent and require refinement.
• QR code placement is appropriate and does not require changes.

Merchandise

• Merchandise packaging is optional but recommended to strengthen branding.
• Simple solutions, such as envelopes with logo stickers, can improve presentation and create a stronger impression.

Illustration

• The overall color direction is accepted and works well with the concept.
• The updated card template design is an improvement.
• However, some characters (e.g., Buto Ijo and War) appear too dark and blend into the background.
• These illustrations need better contrast to match the balance of the other characters.

Week 5

General Feedback

The overall progress is good, and the project is moving in the right direction.

Specific Feedback

Packaging

• The packaging design is approved and ready to proceed.
• Consider adding simple packaging for merchandise, such as using envelopes, to enhance presentation and branding.

Manual

• The manual book is well-developed and ready to proceed without major changes.

Merchandise

• Sticker designs are well-executed and approved.
• The pouch design looks good and fits well with the overall concept.

Illustration

• Continue working on the remaining illustrations to complete the set.

Website & Social Media

• Develop content to introduce your team and explain the purpose behind creating Cerita Rakyat.
• This content should be prepared for both Instagram and the website to strengthen storytelling and audience engagement.

Week 6

General Feedback

Overall, the project is in a good state.

Specific Feedback

Packaging

• The change from a rigid box to art card material for the regular packaging is approved.
• The regular packaging design is finalized and approved.

Website & Social Media

• The website design looks good and is ready to proceed.

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          REFLECTION          

Experience

Since this project is our very last final work, I wanted to put all of my effort and time into making it look good in terms of quality for the illustrations. There were times when I felt guilty for not being able to finish the illustrations quickly before Week 3/4. My group members assured me and did their tasks while still managing to be open about their work. As I really wanted the illustrations to be done as soon as possible so I could finish doing other tasks to help them, there were times as well when I tended to be too direct and made decisions too quickly, because I was too scared that we wouldn’t finish on time. However, with further discussion, we made the final decision together.

Observation

One key observation from this process is that better time planning at the early stage would have improved my workflow. I realized that the line art should have been completed before the project timeline, ideally during the semester break. Since it was done during the project timeline instead, it created time pressure on later stages such as coloring and layout. This experience highlights the importance of completing foundational work earlier to allow more time for refinement and other project components.

Findings

While working on the project, I was heavily focused on completing the illustrations, which required a significant amount of time and concentration. Because of this, I was not always able to fully support my group members or contribute equally to other parts of the project.

This experience made me realize that my workload affected not only my own progress but also how I collaborated with the team. If I had managed my time more effectively and completed the line art earlier, I would have had more flexibility to assist with other tasks and communicate more actively with my group members. It also showed me that balancing individual responsibilities with group collaboration is essential in ensuring a smoother workflow.