Minor Project 1.9.22 - 14.12.22 (Week 1-Week 15)
Wendy Seto / 0348805
Bachelor of Design (Hons) in Creative Media / Taylor's University
Minor Project: House of Wisdom
INSTRUCTIONS
INSTRUCTIONS
PRACTICAL
fig 1 project brief
In this module, we are gathered together with the other specializations in BDCM to work together on one project that requires different area of strengths. The following are the list of project briefed by our lecturer, Mr. Mike:
1. ATTREK
2. Connected Village
3. Catalyst Match
4. Watered
5. Sang Guardians
6. House of Wisdom
My group which consists of Man Ling, Veyhan, Wiceline, Safanah and me will be working on the 6th project which is House of Wisdom. This project is an industrial collaboration with R&D Studio so I am really looking forward to it!
1. Project Proposal
We didn't know much about the project yet since Mr. Mike only provided us a one sentence synopsis which is "House of Wisdom is an adventure and mystery series about Zidan and Mina, who are trying to decode encrypted messages spread around Baghdad.". Hence, we were dumping our ideas on the possible storyline, researching about the setting, time period, history and other information about Baghdad that would support our ideas and attempting to combine all of them into one whole plot during our first meeting not knowing that we don't actually have to stress about it as it will be provided by R&D.
fig 1.1 research tasks delegation fig 1.2 character personality research doc.pdf
fig 1.3 complete individual research.pdf
We had a meeting for the first time with R&D studio in week 2 and were further introduced to the animation. We learnt that it is not our job to come up with a story since they already have it prepared for us. Hence, R&D studio listed down what they need from us while showing what they already have so far. They also mentioned briefly about their target audience which is around the age group of 7-11. From this information, we began drafting out interview questions and find the interviewees.
fig 1.4 target audience interview questions and answers compilation
For our art direction survey, we did a case study in advance on the existing animated character traits, find out how the protagonists and antagonists were distinguished then drafted out the questions and multiple choices based on that.
fig 1.5 art style case study.jpg
fig 1.6 art direction survey appendix.pdf
Then Wiceline summarized the survey responses as following:
fig 1.7 art direction survey responses summary.pdf
I compiled both the interview and art direction responses in a google sheet to ease the process of coming up with a conclusion.
fig 1.8 target audience interview and art direction survey summary.pdf
Mr. Mike advised us to interview our Entertainment Design peers and get some tips for our en environment design.
fig 1.10 entertainment design peers interview compilation.pdf
Moreover, we did more case study on existing animated characters and environment and created moodboards for our own reference.
fig 1.11 further case study docs.pdf
fig 1.12 case studies (character, environment, education).pdf
Based on our findings after tons of interviews, surveys and case studies, we decided to go with these art direction:
1. Outlined 2. Flat shading3. Dynamic facial expression4. Curvy/flowy figures
Below is the development of the characters by Maning and props by Veyhan.
fig 1.13 character design development.pdf
fig 1.14 props design development.pdf
And finally here is our project proposal presented in week 8.
fig 1.13 project proposal.pdf
2. Execution & Merchandising
From week 9 onwards, Mr. Mike wants us to have a Gantt Chart to help track our progress.
fig 2.1 gantt chart
We have to start finalizing our designs so here is my colour exploration for different outline strokes and colours on Zidan. For the fill in, we decided to stick with muted colour palette and not estrange too much from the original.
fig 2.2 colour exploration on different stroke weight
fig 2.3 colour exploration on different stroke colour
After we all agreed to proceed with the 5px and dark brown stroke, me and Wiceline continued colouring the rest of the characters and props we were assigned with.
fig 2.4 characters colouring progress
fig 2.5 props colouring progress
After receiving feedback from Mr. Mike, it turned out most of the characters still need ammendment so in that case I have to reddo the clean ups and colouring all over again.
fig 2.6 character recolouring progress
Once I was done, Maning tried placing these characters on an environment sample and fix some of them according to that, she also added the shading to add depth.
fig 2.7 final character line up
.png)
fig 2.8 finalised props design (1/2)
.png)
fig 2.9 finalised props design (2/2)
Moving on, it's the environment design and concept art. Initially I was assigned to do all of the clean ups for environment, here is my attempt for the secret back alley.
fig 2.10 secret back alley environment clean up progress
However, after me and Wiceline proposed about our logo and merchandise ideas, Maning told us to focus on those instead while she and Veyhan will finish the rest of the clean ups and colouring.
fig 2.11 environment and concept art done by Maning.pdf
fig 2.12 environment and concept art done by Veyhan.pdf
Before beginning our logo and merchandising process, we did some research in advance. Wiceline will be doing research for the logo while I'm doing for the merchandises.
fig 2.13 merchandise research
Here is the finalised logo by Wiceline.
fig 2.14 house of wisdom logo.png
With having all the characters, environment and concept art done on the last week, I started working on my merchandises. I quickly turned one of the concept art into a puzzle. Since I was unable to find a good psd mock up for it, I decided to make one my own because I didn't want to lose the idea. The outcome is actually pretty decent and it does look like a real puzzle yaaay!
fig 2.15 puzzle mock up progress
fig 2.16 puzzle mock up (1/2)
fig 2.17 puzzle mock up (2/2)
My little sister has so many kids toothpaste with all different character design and flavour, that kinda inspired me to make a toothpaste merch.
fig 2.18 toothpaste design progress
fig 2.19 toothpaste design (1/2)
fig 2.20 toothpaste design (2/2)
fig 2.21 toothpaste mock up (1/2)
fig 2.22 toothpaste mock up (2/2)
I find card game as a really interesting merch option, in fact it can be educational purpose as well!
fig 2.23 card game design progress
fig 2.24 card game design front & back
fig 2.25 card game mock up
fig 2.26 flat lay
Wiceline also attempted on 2 other merchandises.
fig 2.27 CD mock up
fig 2.28 nintendo switch game mock up
And lastly, this is our pitch bible.
fig 2.29 picth bible.pdf
PRACTICAL
fig 1 project brief
fig 1.5 art style case study.jpg
In this module, we are gathered together with the other specializations in BDCM to work together on one project that requires different area of strengths. The following are the list of project briefed by our lecturer, Mr. Mike:
1. ATTREK
2. Connected Village
3. Catalyst Match
4. Watered
5. Sang Guardians
6. House of Wisdom
2. Connected Village
3. Catalyst Match
4. Watered
5. Sang Guardians
6. House of Wisdom
My group which consists of Man Ling, Veyhan, Wiceline, Safanah and me will be working on the 6th project which is House of Wisdom. This project is an industrial collaboration with R&D Studio so I am really looking forward to it!
1. Project Proposal
We didn't know much about the project yet since Mr. Mike only provided us a one sentence synopsis which is "House of Wisdom is an adventure and mystery series about Zidan and Mina, who are trying to decode encrypted messages spread around Baghdad.". Hence, we were dumping our ideas on the possible storyline, researching about the setting, time period, history and other information about Baghdad that would support our ideas and attempting to combine all of them into one whole plot during our first meeting not knowing that we don't actually have to stress about it as it will be provided by R&D.
fig 1.1 research tasks delegation
fig 1.2 character personality research doc.pdf
fig 1.3 complete individual research.pdf
We had a meeting for the first time with R&D studio in week 2 and were further introduced to the animation. We learnt that it is not our job to come up with a story since they already have it prepared for us. Hence, R&D studio listed down what they need from us while showing what they already have so far. They also mentioned briefly about their target audience which is around the age group of 7-11. From this information, we began drafting out interview questions and find the interviewees.
fig 1.4 target audience interview questions and answers compilation
For our art direction survey, we did a case study in advance on the existing animated character traits, find out how the protagonists and antagonists were distinguished then drafted out the questions and multiple choices based on that.
fig 1.6 art direction survey appendix.pdf
Then Wiceline summarized the survey responses as following:
fig 1.7 art direction survey responses summary.pdf
I compiled both the interview and art direction responses in a google sheet to ease the process of coming up with a conclusion.
fig 1.8 target audience interview and art direction survey summary.pdf
Mr. Mike advised us to interview our Entertainment Design peers and get some tips for our en environment design.
fig 1.10 entertainment design peers interview compilation.pdf
Moreover, we did more case study on existing animated characters and environment and created moodboards for our own reference.
fig 1.11 further case study docs.pdf
fig 1.12 case studies (character, environment, education).pdf
Based on our findings after tons of interviews, surveys and case studies, we decided to go with these art direction:
1. Outlined
2. Flat shading
3. Dynamic facial expression
4. Curvy/flowy figures
Below is the development of the characters by Maning and props by Veyhan.
fig 1.13 character design development.pdf
fig 1.14 props design development.pdf
And finally here is our project proposal presented in week 8.
fig 1.13 project proposal.pdf
2. Execution & Merchandising
From week 9 onwards, Mr. Mike wants us to have a Gantt Chart to help track our progress.
fig 2.1 gantt chart
We have to start finalizing our designs so here is my colour exploration for different outline strokes and colours on Zidan. For the fill in, we decided to stick with muted colour palette and not estrange too much from the original.
fig 2.2 colour exploration on different stroke weight
After we all agreed to proceed with the 5px and dark brown stroke, me and Wiceline continued colouring the rest of the characters and props we were assigned with.
fig 2.4 characters colouring progress
fig 2.5 props colouring progress
After receiving feedback from Mr. Mike, it turned out most of the characters still need ammendment so in that case I have to reddo the clean ups and colouring all over again.
fig 2.6 character recolouring progress
Once I was done, Maning tried placing these characters on an environment sample and fix some of them according to that, she also added the shading to add depth.
fig 2.7 final character line up
.png)
fig 2.8 finalised props design (1/2)
.png)
fig 2.9 finalised props design (2/2)
Moving on, it's the environment design and concept art. Initially I was assigned to do all of the clean ups for environment, here is my attempt for the secret back alley.
fig 2.10 secret back alley environment clean up progress
However, after me and Wiceline proposed about our logo and merchandise ideas, Maning told us to focus on those instead while she and Veyhan will finish the rest of the clean ups and colouring.
fig 2.11 environment and concept art done by Maning.pdf
fig 2.12 environment and concept art done by Veyhan.pdf
Before beginning our logo and merchandising process, we did some research in advance. Wiceline will be doing research for the logo while I'm doing for the merchandises.
Here is the finalised logo by Wiceline.
fig 2.14 house of wisdom logo.png
With having all the characters, environment and concept art done on the last week, I started working on my merchandises. I quickly turned one of the concept art into a puzzle. Since I was unable to find a good psd mock up for it, I decided to make one my own because I didn't want to lose the idea. The outcome is actually pretty decent and it does look like a real puzzle yaaay!
fig 2.15 puzzle mock up progress
fig 2.16 puzzle mock up (1/2)
fig 2.17 puzzle mock up (2/2)
My little sister has so many kids toothpaste with all different character design and flavour, that kinda inspired me to make a toothpaste merch.
fig 2.19 toothpaste design (1/2)
fig 2.20 toothpaste design (2/2)
fig 2.21 toothpaste mock up (1/2)
fig 2.22 toothpaste mock up (2/2)
I find card game as a really interesting merch option, in fact it can be educational purpose as well!
fig 2.23 card game design progress
fig 2.24 card game design front & back
fig 2.25 card game mock up
fig 2.26 flat lay
Wiceline also attempted on 2 other merchandises.
fig 2.27 CD mock up
And lastly, this is our pitch bible.
fig 2.29 picth bible.pdf
FEEDBACK
Week 3: Create persona profiles based on children personality category instead of deriving from interview questions. I think you can be more specific to ask questions about Arabian cartoon characters, buildings, environment etc. Remember you are continuing the design from the 2 main characters that was shared.
Week 4: Silhouettes should be completed before detailed designs. Each character should have unique silhouettes, but have a uniform basic shape which is then altered to fit different characters. Having a basic body shape helps maintain consistency across different characters and make them recognizable in belonging to a specific work. To define an artistic direction, it is a good idea to look for examples (in this case, three) of similar themes. E.g: Having a survey, secondary analysis, & interview. From that, start extract the desirable qualities from surveys/interviews with the target audience. Present a strong case if you wish to make changes to any pre-established art style.
Question about outline or not is good. About antagonist, most people might not understand what it means, should just say villain or bad guy. There should be questions that ask about the environment design as well. Just remember you are looking for feedback that would help you design every supporting character. Imagine you are asking for your character design assignment brief from your lecturer, what information do you expect to have on it?
Week 5: What is the problem? What is the pain? What is something your target audience are frustrated with? The field that you want to feature should be as closely related to what they studied in the real school as possible, so that it is relevant to them so they watch it. That’s why their parents would like them to watch because it teaches them something that is relevant to the school. What do they study from 7-11 y/o? Go through the list of government school, private school, what do they learn? Insert it into you story so that the scholars will deal with those. As a whole, did any of your questionnaire ask them about the things that they wish they have but they didn’t get?
Week 6: The character design and environment design can be changed so the problem could be found from these. R&D, a Malaysian studio, is doing the animation that storyline is set in Baghdad and ancient timeline, so the presentation of character design and environment design might not be accurate. How much creative freedom do R&D have without offending the Arab audiences? Where do you draw the line to avoid offending them and what can us to make them relate to it?
Week 7: This is not how you do moodboards, please make one for each character and environment. Combining all like this doesn't work, maybe you can understand it but what if you show this to non-design students?
Week 8: Independent Learning Week
Week 9: Every group has to have a gantt chart to help you track your progress from this week onwards, I have provided an example from your senior so you can use it as a reference.
Week 10: Composite this character in a closely matched environment visual that fulfils the rendering style, lighting and shadow designs of the intended environment design. If there are matching issues, fix them until the group agrees on the accepted final character design. The group’s artists should begin exploring silhouettes for the other characters to find unique and varied anatomical shapes for each of the characters in order to make them distinctively different from each other and very recognisable. When these different silhouettes have been confirmed, proceed to produce a model sheet for each of the characters following the master character model sheet.
Week 11: Zidan’s proportion has to be revised. Props are too clean and perhaps they also have to be presented in different size for different camera view. Let's say if you shrunk it, you'll lose the details. Make sure the props design is coherent to character design’s style.
Week 12: Most of the characters were fine except for 2-3 which were not developed appropriately according to the anatomy and historical accuracy as in features, costume and characteristics.
FEEDBACK
Week 3: Create persona profiles based on children personality category instead of deriving from interview questions. I think you can be more specific to ask questions about Arabian cartoon characters, buildings, environment etc. Remember you are continuing the design from the 2 main characters that was shared.
Week 4: Silhouettes should be completed before detailed designs. Each character should have unique silhouettes, but have a uniform basic shape which is then altered to fit different characters. Having a basic body shape helps maintain consistency across different characters and make them recognizable in belonging to a specific work. To define an artistic direction, it is a good idea to look for examples (in this case, three) of similar themes. E.g: Having a survey, secondary analysis, & interview. From that, start extract the desirable qualities from surveys/interviews with the target audience. Present a strong case if you wish to make changes to any pre-established art style.
Question about outline or not is good. About antagonist, most people might not understand what it means, should just say villain or bad guy. There should be questions that ask about the environment design as well. Just remember you are looking for feedback that would help you design every supporting character. Imagine you are asking for your character design assignment brief from your lecturer, what information do you expect to have on it?
Week 5: What is the problem? What is the pain? What is something your target audience are frustrated with? The field that you want to feature should be as closely related to what they studied in the real school as possible, so that it is relevant to them so they watch it. That’s why their parents would like them to watch because it teaches them something that is relevant to the school. What do they study from 7-11 y/o? Go through the list of government school, private school, what do they learn? Insert it into you story so that the scholars will deal with those. As a whole, did any of your questionnaire ask them about the things that they wish they have but they didn’t get?
Week 6: The character design and environment design can be changed so the problem could be found from these. R&D, a Malaysian studio, is doing the animation that storyline is set in Baghdad and ancient timeline, so the presentation of character design and environment design might not be accurate. How much creative freedom do R&D have without offending the Arab audiences? Where do you draw the line to avoid offending them and what can us to make them relate to it?
Week 7: This is not how you do moodboards, please make one for each character and environment. Combining all like this doesn't work, maybe you can understand it but what if you show this to non-design students?
Week 8: Independent Learning Week
Week 9: Every group has to have a gantt chart to help you track your progress from this week onwards, I have provided an example from your senior so you can use it as a reference.
Week 10: Composite this character in a closely matched environment visual that fulfils the rendering style, lighting and shadow designs of the intended environment design. If there are matching issues, fix them until the group agrees on the accepted final character design. The group’s artists should begin exploring silhouettes for the other characters to find unique and varied anatomical shapes for each of the characters in order to make them distinctively different from each other and very recognisable. When these different silhouettes have been confirmed, proceed to produce a model sheet for each of the characters following the master character model sheet.
Week 11: Zidan’s proportion has to be revised. Props are too clean and perhaps they also have to be presented in different size for different camera view. Let's say if you shrunk it, you'll lose the details. Make sure the props design is coherent to character design’s style.
Week 12: Most of the characters were fine except for 2-3 which were not developed appropriately according to the anatomy and historical accuracy as in features, costume and characteristics.
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