Major Project

22/4/2024 - 11/8/2024 (Week 1 - Week 16)

Sasilvia Cheong Pei Hoong / 0345031 / Bachelors of Design in Creative Media

Major Project

---

INSTRUCTION

---

Week 1 (23/4/2024)

On week 1 we were briefed about our major project:

1. Whole semester is consultation based.

2. Come to class to propose a topic, proposal has to be finalized by Week 3.

3. Supervisors will be assigned depending on topic of interest.

4. Set a consultation with your supervisor weekly, might not be during class time.

5. Supervisor will not chase us for progress.

6. Change of topic is not advisable Week 5 onwards.

7. Monday online session will only happen if announced.

8. Major Project cannot feel like an assignment.

9. Working hard does not guarantee you good grades, you must reach the rubrics requirement. 

We were also allowed to choose our topic from 3 given pathways:

1. Dissertation topic.

2. Find an actual life brief (Client). The disclaimer is the client has to be approved by the lecturer. 

3. Find any topic.

• Purpose - What?
• Who does benefit from this.
• What problems are you solving? (Blue Ocean Strategy)

As for exhibition showcase:

1. It is not compulsory.

2. If you are interested and want to join, talk to the president and vice president.

3. It will be held outside of Taylors.

4. Will happen around W15/16

Week 2 (30/4/2024)

Mr. Kanaan has been assigned as my supervisor.

---

Week 1 Proposal- 
On week 1 I continued my project proposal since I started it during the semester break. I came up with 3 ideas in total. 1. An adoptable figurine and artbook, 2. Blind box figurine and 3. Game Art Book. While all of them are based on different topics.

Fig. 1.1  Proposal Slides

Week 2
After receiving feedback from Mr. Kanaan, I decided to go with my first idea which was the adoptable figurine and proceeded with the character silhouette sketches 5 for each character. I plan to design each character based on their respective culture, while also incorporating elements of French culture since the world is set in France.

For Marguerite, as a quintessential Frenchwoman, I've designed her wardrobe with French-inspired elements like corsets, stockings, and hemline skirts. Given her role as a fashion designer, I've chosen to have her dress boldly and innovatively, incorporating an array of bows and diverse textures into her outfits. For her pose, I've aimed for an elegant and confident stance to reflect her sophisticated and assured nature.

Fig. 2.1  Marguerite Beaumont Thumbnail Sketches

Eseoghene, is from Senegal in West Africa, wears clothing inspired by traditional Senegalese garments like Boubou and Kaftan, seamlessly blending these with French styles such as tailcoats and cravats. Deeply engrossed in his research on stars, Ese always carries an array of scrolls for study. His pose is intended to reflect his imaginative nature, depicting him lost in contemplation as he gazes at the stars.

Fig. 2.2  Eseoghene Acheampong Thumbnail Sketches

Hina is from Japan so she often wears Japanese clothing like Kimonos and Getas. After her influenced of moving to France she started wearing more French infused clothing with bonnets, ruffles and corsets. Hina is very energetic and a bright girl so I wanted to make her pose more playful. 

Fig. 2.3  Hina Kanamori Thumbnail Sketches

Fleur is a rabbit doll serving as the butler of the Chateau in France, so I dressed him in traditional butler attire. Kind and warm-hearted, Fleur exudes an inviting and welcoming aura. Abandoned near a flower bush, he became intertwined with flowers, which now adorn him, adding a unique and charming touch to his appearance.

Fig. 2.4  Fleur Thumbnail Sketches

Other than that, I also planned out the landscape and the architecture of the chateau. Since I struggled a lot with the perspective of the chateau due to its complex structure, I decided to build it in 3D first and choose my perspective from there before drawing it. 

Fig. 2.5  3D Model Base of the Chateau

Fig. 2.6  Sketch of the Chateau

Week 3
This week, I kept planning the project and brainstormed packaging concepts for the adoptable figurine. I wanted the packaging to mirror the character's personality, so I came up with the idea of designing a box that looks like a vintage suitcase, complete with a flap opening to showcase the character. This setup allows for displaying the adoption letter and character card on one side, while the adoptable figurine and some props can be on the other. It enhances the collectability of the figurine since it can be displayed at home without needing to be removed from the box.

(sorry I lost the previous image with the character sketch in it so this is updated from W11  with the actual 3D model :'D) 

Fig. 3.1  Figurine Suitcase Packaging Sketch

I also started with the interior of character's favorite room in the chateau, using the same method as the chateau I structured the layout in 3D before progressing with a different perspective.

Fig. 3.2  Couture Studio 3D Model Base

Fig. 3.3  Apothecary Room 3D Model Base

Week 4

This week I continued doing the thumbnail sketches for the environment by drawing over the 3D model I did.  

These are the concept sketches I created for Marguerite’s Couture Studio. The aim was to design a space that was functional and efficient, with access to all the necessary fashion tools.

Fig. 4.1  Couture Studio Thumbnail Sketches

Here are the concepts for Eseoghene’s Astronomy Tower. I envisioned a massive telescope in a dome-like observatory gazing the night sky. To enhance the space, I added planets hanging from the ceiling. The Astronomy Tower room also includes essential elements for astronomers, such as a workspace, a whiteboard for theories, a globe, and a smaller telescope. I experimented with different layouts and prefer the design with the central staircase, as it effectively divides the space.

Fig. 4.2  Astronomy Tower Thumbnail Sketches

These are the concepts for Hina’s Apothecary Room. Since the story is set in 1873, I wanted to go for a traditional Japanese apothecary room look, as Hina is originally from Japan before moving to Apothecary Room France with her parents. The room features a large cupboard with numerous drawers for storing herbs, ample storage space, and a long counter for preparing medicines. There are also areas to hang herbs, and outdoor lighting is kept minimal to preserve the herbs’ quality.

Fig. 4.3  Apothecary Room Thumbnail Sketches

Week 5

Here I did refinements on the characters based on the thumbnail sketches I chose and combining them. I also tested out colour palette that will suit their personality and dream career of choice. 

Fig. 5.1  Marguerite Beaumont Refinement Sketch + Colour Palette 

Fig. 5.2  Eseoghene Acheampong Refinement Sketch + Colour Palette 

Fig. 5.3  Hina Kanamori Refinement Sketch + Colour Palette 

Fig. 5.4  Fleur Refinement Sketch + Colour Palette 

Week 6

I did more refinements for the characters here by adding more accessories for them to build their character and make them unique. I also did some splash art sketches based on the characters likings. 

Fig. 6.1  Marguerite Beaumont Refinement + Splash Art Sketch 

Fig. 6.2  Eseoghene Acheampong Refinement + Splash Art Sketch 

Fig. 6.3  Hina Kanamori Refinement + Splash Art Sketch 

Fig. 6.4  Fleur Refinement + Splash Art Sketch 

I also did a simple town map sketch of the area that the characters live in. The chateau is located in an enclosed area in the valleys while the town and cathedral are located outside. However, when the townsfolks go to the valley they are not able to see the chateau due to an enchantment the owner of the chateau did. 

Fig. 6.5  World Map Sketch

Week 7

More character refinements and also tested out some different colour combos.


In the end I still find that the first colour palette suits Marguerite way better as it makes her pop more while the second one feels too dark on her. 

Fig. 7.1  Marguerite Beaumont Further Refinements + Colour Palette 

Fig. 7.2  Eseoghene Acheampong Further Refinements

Fig. 7.3  Hina Kanamori Further Refinements

Fleur's colour palette was very hard to decide for me it was always changing and I ended with these two. My mother did like the first one because it was brighter but I felt it was boring and dull so I went with my heart and chose the second one as I feel that the colours suit Fleur the most, he had a tragic past and still has a bright personality. 

Fig. 7.4  Fleur Further Refinements + Colour Palette 

Week 8 -9

I spent most of my time on Week 8 and 9 on Marguerite's 3D Model , there was a lot of refinements in between and I did a lot of improvements thanks to Mr. Kannan's feedback. 

Fig. 8.1  Marguerite Beaumont 3D Model 

Fig. 8.2  Marguerite Beaumont 3D Model Coloured

Week 10

I initially wanted to post Marguerite like her splash art pose, but why why why is Zbrush so unfriendly especially for posing! T-Pose mesh never works just makes my whole computer crash. I decided to just stick with an A pose to keep my sanity and also I felt like I was running out of time. 

Fig. 9.1  Marguerite Beaumont 3D Model Final Pose

I also did the final render for the characters, but only managed to finish Marguerite's splash art because I could not think of good splash art ideas at this moment.

Fig. 9.2  Marguerite Beaumont Final Render + Splash Art

Fig. 9.3  Eseoghene Acheampong Final Render

Fig. 9.4  Hina Kanamori Final Render

Fig. 9.5  Fleur Final Render

Week 11

I added a base for the model to look more like a figurine, I decide to go for brown and gold so that it gives off a more antique-looking feel to it. 

My initial idea was to 3D print this figurine out at Taylor's Mereka space. However due to my character being too detailed I required resin printing but Taylor's only have filament printing. But through Mr. Ahmad advice he said to just test it out, but even when we tried my file was too large for printing and I had to go find outside source to print my model instead TT. 

I searched for 3D printing places for so long and was recommended one by my junior since they print detailed characters too. Yet my file was also too big for them, I wanted to scream, Mr. Kannan tried to help me with reducing my file size but it was insanely large and will take a very long time, it was also very difficult. So in the end, I decided to make the decision to not print it anymore :'D, another time perhaps when I have more time to fix it. 

Fig. 10.1  Marguerite Beaumont Figurine Final

This sketch took a very very long time, the details were crazy, but I wanted to make it Marguerite Beaumont the girl who is passionate about fashion, has lots of love for moths and lily of the valley. Most of the furniture and props in this room are moth and lily of the valley symbolized. For the clock I added big buttons and moth wings to suit her style more. 

Fig. 10.2  Couture Studio Final Sketch

I did the line art turnarounds for the characters. 

Fig. 10.3  Marguerite Beaumont Turnaround Line Art

Fig. 10.4   Eseoghene Acheampong Turnaround Line Art

Fig. 10.5 Hina Kanamori Turnaround Line Art

Fig. 10.6 Fleur Turnaround Line Art

I did not have time to finish this T^T and it was scraped.

Fig. 10.7 Astronomy Room Progression Sketch

I did the sketches of my characters in potraits and showing somewhat of an emotionless face. I wanted it to look like a family potrait on a wall in a house. 

Sadly, this was also scraped, my heart hurts for it, I love it so much, but I had to be smart with my drawings as I had no time. So I had to just use back what I have. 

(the mirrors and clock are just placeholder so that I know where to placed my characters at)

Fig. 10.8 Main Key Visual Sketch

Week 12

I coloured my character turnarounds as well as rendered the couture studio. I was very very sick like literally vomiting, making 10 bowls of wonton from tissue papers and coughing my lungs out after the progression presentation so my progress slowed down a bit for this week. 

Fig. 11.1  Marguerite Beaumont Turnaround Coloured

Fig. 11.2   Eseoghene Acheampong Turnaround  Coloured

Fig. 11.3 Hina Kanamori Turnaround  Coloured

Fig. 11.4 Fleur Turnaround  Coloured

Fig. 11.5 Couture Studio Rendered

Week 13

I manage to finally think of splash arts for my characters. For Eseoghene I drew moon and the stars in the background to show his interest in celestial things. 

Fig. 11.6   Eseoghene Acheampong Splash Art

For Hina, I drew a rosemary it was a kind of herb a long time ago! Also I made it look like she's jumping on the ground with joy and rosemaries grew out from below her feet. 

Fig. 11.7 Hina Kanamori Turnaround  Splash Art

Since Fleur's design is symbolized so much with flowers, I made it look like he used his magic staff to enchant daisies out. 

Fig. 11.8 Fleur Turnaround  Splash Art

The owner of the chateau finally makes an appearance! I drew him wanting to make him very charismatic yet wise looking. He is tall and confident as if he has 200 years of knowledge in him which he does. The reason why I chose black as the colour for him as I wanted him to be someone to support the other characters and not take over the spotlight by having too much colour on him. His magic cane is clockpunk inspired. The reason why the tip of the cane is stained red, it's because it was the blood of his rival. 

Fig. 11.9 Adélard Yves Géroux Rendered 

This was the second key visual I created for the exhibition as I could not finish the main one in time. 

Fig. 11.10 Second Key Artwork

Week 14

This week I started drawing the illustration for the character's past trauma since it was plan to be used behind the character's card as well in the artbook to tell their story.

For Marguerite, her past was when she was five her parents died in the fire and the townsfolks think she was the one bringing in bad luck due to her appearance. Her dress flows and has fire like patterns and the grave with the Beaumont name symbolizes that her parents had pass and she is grieving the lost of her parents while carrying a huge burden on her own back. 

Fig. 12.1 Marguerite Beaumont Tragic Past Illustration

Ese's tragic past was when he had to flee away from his house due to thugs and left his mother behind as she told him to run. As he flee on a ship that brought him to France he went to town finding a cloth in the dumps and wearing it to cover his skin patches due to his skin condition. The chips on the stone represents the part of his skin that lost pigmentation. 

Fig. 12.2 Eseoghene Acheampong Tragic Past Illustration

Hina parents forced her to marry someone which she felt like she had her whole life thrown away and she has no freedom to make her own choices which shows that her wings, hands and legs had been tied up. The eye of the statue also has different colour due to her heterochromia. 

Fig. 12.3 Hina Kanamori  Tragic Past Illustration

Fleur was thrown and abandoned by his previous owner that is why he is laying on the ground broken and in pieces. 

Fig. 12.4 Fleur Tragic Past Illustration

Adelard lost his left eye because of a fight he had with his rival in the past. That is why the left eye of his statue is bleeding. 

Fig. 12.5 Adélard Yves Géroux Tragic Past Illustration

Fig. 12.6 Main Key Artwork

After finishing most of the illustrations and concepts I started making the merch for the adoptable figurine and the art book.

Fig. 12.7 Keychains Merchandise for Adoptable Figurine

Fig. 12.8 Die Cut Sticker Merchandise for Adoptable Figurine

Fig. 12.9 Character Card Merchandise for Adoptable Figurine

Fig. 12.10 Character Art Print for Adoptable Figurine

Fig. 12.11 Die Cut Sticker Merchandise for Art Book

Fig. 12.12 Postcard Merchandise for Art Book

Week 15 

Fig. 13.1  Train Ticket (Bookmark)

Fig. 13.2  Character's Favourite Food + Belonging

Fig. 13.3  Chateau Rendered 

Fig. 13.4  World Map Finalized 

Fig. 13.5  Box Mock Up

Fig. 13.6  Figurine Poster

Fig. 13.7  Art Book Finalized (PDF)

Finals : Merchandise  Production

Adoptable Figurine

Fig. 14.1  Figurine

Fig. 14.2  Box Mock Up (Front Close)

Fig. 14.3 Box Mock Up (Front Open)

Fig. 14.4  Box Mock Up (Inside)

Fig. 14.5  Box Mock Up (Side)

Fig. 14.6  Box Mock Up (Back)

Fig. 14.7  Character Card

Fig. 14.8  Character Art Print

Fig. 14.9  Character Keychain

Fig. 14.10 Character Die Cut Sticker

Art Book

Fig. 15.1  Art Book (eBook Version)

Fig. 15.2  Art Book (Front Cover)

Fig. 15.3  Art Book (Inside)

Fig. 15.4  Poster

Fig. 15.5  Postcard

Fig. 15.6  Bookmark

Fig. 15.7  Die Cut Stickers

Final Presentation Deck

Fig. 15.8  Final Presentation Deck

---

EXHIBITION

I made a few extra things for the exhibition:

Fig. 1.1  Name card

Fig. 1.2  Stamp

Fig. 1.3 Exhibition Day

---

FEEDBACK

Week 2 

Mr. Asrizal (30/4/2024):

Think about quantifying the benefits. Mr. Kanaan will be your supervisor, set up a suitable time to consult with him.

Mr. Kanaan (1/5/2024): 

All ideas are good, ideas 1 and 3 are the most workable ones. The first thing to do is sketch, create the world, not just by writing, look at diel lama, create diel lama, which can be executed in different concepts. The problem statement and everything you have for idea 1 is fine. Think about where you want to go to the future figure/ game/ movie company? See which approach you want to go for. See what is the commercial value you are bringing, in terms of production. The art style in your reference is a complex one , see how complex it is and how complex you want it to be. Identify the culture, best is to gamify your idea.

Think about a theme for example its based in France, a circus carnival. Draw the environment, from this environment how do you want to set up the stages for your characters. The packaging make it more unique and valuable so that it is collectable. You don't have to solve the packaging, just do more research. In terms of digital not only physical. See what unique theme your looking at. As you build don't focus only on the characters but the environment as well. Asking the viewers to see beyond. Quickly draw and sketch it out. What is the function of the environment? Costume design can be leather/ animal skin/ woven cotton like what they wore in the 1800s, look at the colours and tones what colour your building, fun and exaggerated. 

What motivates you to go further, without losing interest with your idea. What else is interesting, you can stick with this figurine and branch it out such as using AR projection. Can go and find the base and sculpt straight away, don't go for details just yet. Don't go crazy with writing, can do it in a form of a comic. Try to do 4 models, focus on 2, like the companions. See what NPCs are there in the world. 

References to look at:
1) Todd Mcfarlene (Figurine Carnival Series)

2) Joey Maduala

3) Fable 3
4) Bishop

5) Infinite 
(3-5) cool stuffs go and see to get ideas
6) Moana/ Zootopia

Week 3
No feedback session

Week 4 (17/5/2024)

Make it clearer, it is a pitch bible. Game design can be complex, instead find existing games, elements to fit the game design, be careful with this will waste a lot of time. Look at character as a whole, if its a game, not fully done, not develop, need to look at the UI. Currently the background and character looks seperated. Find a game with similar gameplay. 2D, how to fit this concept design, storytelling, define that, show movement, must show sample of game, show how the whole thing would work in the game. How would the character work, 3D rendered in 2D, 2D or 3D. The albino character is a bit complex in design, for 3D characters can be more detailed while 2D can't. Have a moodboard, quick drawing of the game capture. Quick sketch black and white, or it could be a card game. Like new characters for a new level, upgrades, for example LOL or Overwatch. Or a short animation like Castlevania. The game and animation is something to promote while the card and figurine collectable is to collect and create a community. Short comic can be AR, a series of merchandise, the artbook to promote, the figurine becomes more famous and can be produced into animation, game, comic. Your box is the final product with the figurine. Briefcase create a model sheet. When people buy this they get other bonuses like posters and so on. 

Promoting my IP, cannot show figure alone. Product and IP, can diverse to other platform. Breakdowns, assets, breakdown, card, collectable card, can be a series. What so special about this briefcase, find a box in shopee or lazada and print over it. The figurine is the ultimate goal. 3D print with resin, break it down, the body base, can have different skins.  

Week 5 (24/5/2024)
Fix the anatomy of the characters, further develop their characteristics, like what do they carry. Add a fusion (diesel punk). Current characters look too mundane for FYP. They might hold a power a natural one. Figurine need to capture an essence from the audience. Characters can have multiple skins, can be further developed in different series. Can photobash here and there. There are usually 3 types of body for each gender. Think about how the idea can be expanded. Map it out like a blueprint, for example arcane. For the 3D print can be a polygonal style like Overwatch. This project will be expensive but you must have a solid IP. If the final model is hard to colour, can tweak it and make it bronze. 

Week 6 (1/6/2024)
Value it and add photobashing to get textures, some netting maybe, have to test it quickly. For the heterochromia character, the sleeve is too long its too much, remove them, can fold it up to elbows. The characters has too many details and too many micro stuffs, if its all over the place its overwhelming. The colours are okay, but needs something more. Should start 3D sculpt already. There's a good improvement with the characters. When presenting, have to break them down such as the references used. Need to have good balance between details and solid. When 3D printing try to see how it breaks down. Need to add more clockpunk elements and lessen the complex detail. Find a reference how to package figurine. Sculpt the nig detail first, once the base is complete separate the limbs. Need to finish 60% of the details (key features is there), in A pose, T pose. Break it down in a mannequin manner. Think if your character is static or is it going to move. 

Week 7 (4/6/2024)
Add vibrancy. The heterochromia character anatomy is off, the leg is weird and lines of knees have to be seen. Remove the texture of the background when presenting the characters as it distracts it too much. Take the current characters and add more components, take a gradient and overlay on the characters, take blue brush and add shadows, use colour highlights to give it more life, shine and polishing, reference cloth and overlay to get accurate cloth folds, the heterochromia character is not balanced feels like she is tipping over. Try to solve in terms of production design, add more clockpunk, look at more gears. 

Week 8 (14/6/2024)
Go to slide beside quicksave to reduce opacity of ZBrush so that its easier to reference my drawing when modelling. For the hair on the model have more variation, small, medium and thick not strand by strand. The shirt needs proper folds. For the skirt can reduce three layers to one and can use mask to create polygroup to create the ornaments. Sharpen certain features, look at arcane 3D model for reference. 

Week 9 (22/6/2024)
The cloth is too soft, sharpen it. Can do skin details with alpha stock. (Standard> drag> import alpha> masking by clarity) To print the model can go to Mereka space at vortex E1.09 and find Mr Ahmad. For the chateau drawing it can be drawn close and front faced. 

Week 10 (27/6/2024)
No consultation

Week 11
(2/7/2024) Progress Presentation
Mr Kamal: Appreciate the effort in details, if it's to be developed into an animation it will be hard because of the intricate design. But for artbook and figurine then it's all good. 

(5/7/2024)
Mr Kannan: The cloth is too soft, sharpen it. Can do skin details with alpha stock. (Standard> drag> import alpha> masking by clarity) To print the model can go to Mereka space at vortex E1.09 and find Mr Ahmad. For the chateau drawing it can be drawn close and front faced. 

Week 12 (12/7/2024)
The figurine packaging can be printed on A3 paper smaller like a prototype. 

---

REFLECTION

This experience was something totally new to me, and I was really surprised by how much I got done in just 16 weeks during my final semester. It felt like a rollercoaster ride! There was so much to do and so little time, so I had to really focus on managing my time and staying organized. I started using checklists to make sure I was on the right track. 

Bringing my project to life was something I’ve always wanted to do, so getting to print my merch, like the artbook, art prints, and cards, made me really proud and happy. It was a bit of a bummer that I couldn’t print my 3D model because it was too detailed and heavy, and I didn’t have time to retopologize it. But I’m definitely planning to figure that out when I have more free time. 

Looking back on my three years at university, I can see how much I’ve improved. I’m so grateful to my lecturers, Mr. Kannan and Ms. Anis, for all their support and guidance throughout my degree. I really couldn’t have come this far without them, they were always so kind and understanding, and their feedback helped me a ton. 

A huge thanks to my friends and family for always supporting me. I love you all for being there for me and believing in me. As I wrap up this blog, I hope you’ve enjoyed following along. This is the end of one journey, but the start of something new!