Minor Project - Self Reflection
Minor Project
Index
Lectures
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| Fig1.1 week 2 |
This week’s lecture centered around a key principle in design—empathy. Tim Brown from IDEO once said that without understanding what
others feel, see, and experience, design becomes a pointless task.
That quote set the tone for our discussions on how empathy shapes
meaningful, human-centered design.
We also explored the core of design thinking, which sits at the
intersection of three important factors:
desirability (what users need), feasibility (what is technically
possible), and viability (what makes business sense). This balanced
approach reminds us that innovative solutions must consider the needs of
people, the constraints of technology, and the sustainability of
business.
A key takeaway was learning to differentiate between
assumptions
and empathy. While
assumptions are based on what we think users want, empathy requires us
to genuinely listen, observe, and understand users' true experiences.
The impact of human-centered design was brought to life through real-world examples like the Embrace Infant Warmer, a low-cost innovation that addressed the needs of premature babies in rural India. This showed us how empathy-led solutions can save lives and bring dignity to underserved communities.
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| Fig1.2 Week 3 |
This week emphasized the
importance of user research
in the design process. Before jumping into solutions, it's essential to
understand who we are designing for—what they need, how they behave, and
what problems they face. This foundation allows us to create more
relevant, impactful experiences.
We learned different research methods, including
interviews, observations, and surveys. Each
method brings a unique perspective: interviews uncover emotions and
motivations, observations capture real behaviors, and surveys reveal
patterns and preferences on a larger scale.
The process begins with
planning and recruitment, ensuring we talk to the right people—what we call
personas. Then,
through
data collection and analysis, we extract meaningful insights to guide design decisions.
We also discussed contextual research using secondary data, like articles or online sources, to supplement fieldwork. Together, these methods help designers move beyond assumptions and make truly user-centered decisions.
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| Fig1.3 Week 4 |
This week’s focus was on turning user insights into actionable problem statements, which are the foundation of creative solutions. We learned how raw observations—such as “users don’t use all features of an app”—can be translated into insight statements like “users feel overwhelmed by too many features,” which then inform our design direction. These insights help uncover the emotional or behavioral gaps that data alone cannot capture.
A powerful tool we explored is the “How Might We” (HMW) question framework. This formula allows teams to reframe problems in a way that sparks ideation. For instance, instead of simply stating a problem like “a café isn’t attracting customers,” we might ask: “How might we create a unique café experience that stands out?” The HMW approach encourages open-ended thinking, collaboration, and solution diversity.
We also practiced crafting clear problem statements, or “Points of View,” that capture three things: who we are designing for, what they need, and why they need it. This structure ensures our ideas stay focused on real user challenges, not assumptions. For example: “Busy professionals need a way to stay active despite tight schedules because they struggle to find time for workouts and lose motivation when routines are disrupted.”
Ultimately, we saw how combining data insights, empathy, and problem framing sets the stage for innovative, user-centered design. Every strong solution begins with asking the right questions.
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Fig1.4 week 5 |
This week we explored two essential areas of the design process: ideation techniques and journey mapping. In the first part, we learned how structured brainstorming methods can unlock creativity and lead to innovative solutions. Tools like Mind Mapping, S.C.A.M.P.E.R., and Crazy 8’s were introduced as ways to generate a wide range of ideas quickly. Each technique helps us approach problems from different angles—whether by combining, adapting, or reimagining existing ideas. It also reminded us that quantity comes before quality in the early stages of ideation.
The second major focus was on user or customer journey maps—visual tools that help us understand how users interact with a product or service across different stages. By outlining their actions, thoughts, emotions, and pain points, we can identify where frustration occurs and where opportunities for improvement exist. One example we studied was a mobile banking app, where the journey mapped the user’s emotional shift from curiosity to trust (or frustration) depending on how smooth the onboarding and usage experience was.
Both ideation and journey mapping emphasized the importance of putting ourselves in the user’s shoes. Whether we are generating ideas or evaluating an experience, our success depends on how well we understand and anticipate the real needs and feelings of the people we design for.
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| Fig1.5 Week 6 |
In our final week, the focus shifted to the art of design proposals and presentations—how we communicate our ideas clearly, confidently, and persuasively to clients or stakeholders. We explored the structure of a strong design proposal, which includes key components like the problem statement, scope of work, timeline, deliverables, and payment terms. These not only establish credibility but also ensure both designer and client share the same expectations.
We also learned how to craft engaging presentations that are client-centric rather than just design-focused. This means translating creative decisions into business value, telling a compelling story, and using visuals, mockups, or interactive demos to bring ideas to life. One valuable lesson was to avoid jargon, speak with empathy, and always relate design choices back to user needs or brand goals.
Visually, we were reminded to keep slides clean and intentional: use a limited color palette, establish hierarchy, and avoid overwhelming the viewer. Whether it’s typography, animations, or charts, every design element should serve a clear purpose. Finally, beyond just visual polish, delivery matters—rehearsing, making eye contact, listening actively, and responding thoughtfully can elevate a good pitch into a great one.
Instructions
Task Requirement:
- Task 1 requires: Executive Summary, Background, Resources, Problem-solving Approach, Budget & Timeline.
- Task 2 requires: detailed production plans, real-time collaboration, and iterative design management.
- Task 3 focuses on solution implementation, design review, and innovation in presentation.
- Task 4 is an individual reflective blog (DIEP format) with visuals, self-evaluation, and links to learning goals.
Week 1: Group Distribution
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| Fig2.1 Grp distribution |
In Week 1, we were assigned into our project teams during class and received a full briefing from Mr. Mike, our module lecturer. He introduced us to the Minor Project (MIB) structure and outlined the expectations, assessment criteria, and deliverables. We were informed that the course follows a hyflex learning model, meaning that both online self-paced learning and in-person consultation are essential. Weekly learning materials and tasks are hosted on MyTIMES, and we are required to respond to questions on the Noodle Factory AI platform to strengthen our understanding.
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| Fig2.2 Mytimes |
We also began the early stages of project planning. Mr. Mike emphasized the importance of selecting a strong group project theme and encouraged us to seek his feedback regularly for refinement. Our team started organizing our collaborative workflow using Miro, where we will document our research, ideation, and ongoing design progress. Task delegation among team members was also discussed to ensure effective cooperation throughout the semester.
Our group was assigned to the WARISANXR MR PROJECT, with TrueXR as our client. Each project group in the class was matched with a different client, depending on the theme and industry focus. For example, other groups were paired with clients such as Expedio, EDT, Continental Tires, and the Food Security Impact Lab, covering topics like self-watering pots, rolling resistance solutions, and food aid.
Our project with TrueXR centers around promoting Malaysian cultural heritage through mixed reality (MR). We were placed in Group 3, which consists of 7 members from different specializations:
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UI/UX Design: Ho Winnie, Lew Guo Ying, Lin Si Yan, Melvin Yung Khun Yew
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Industrial Design: Ng Kar Yee
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Entertainment Design: Yong Zhen Xing
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Digital Animation: Tan Jia Jia
We immediately began organizing our research using a shared Miro board, and started assigning tasks based on each member’s strength and background.
Week 2: Contextual Research
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| Fig2.3 Week 2 |
During Week 2, our team began the contextual research phase of the project. Since the topic of MR/AR cultural heritage was unfamiliar to most of us, we all felt a bit uncertain in the beginning. To better understand the subject, we arranged a client visit to TrueXR's studio and prepared a list of questions to ask during the session. As this was our first time working with an external client, many of us felt nervous, but we also saw it as a valuable learning opportunity.
To avoid duplicated efforts and ensure broader research coverage, our group leader Winnie assigned specific research areas to each member. This allowed us to dive deeper into various aspects of AR/MR technology, cultural storytelling, and visitor experience design.
Here’s how our research was divided:
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Winnie: Overview of TrueXR and WarisanXR, current technologies used, cultural narratives, and interview questions.
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Guo Ying（Me）: Immersive features in XR, case studies of MR/AR museums, and Malaysian cultural heritage (Part 1).
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Melvin: Global trends in AR, emerging innovations, and use of symbolism in exhibitions.
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Kar Yee: Storytelling techniques, spatial/visual strategies, and behavioral insights from immersive experiences.
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Yanny: Part 2 of Malaysian heritage research, emotional engagement in MR, and AR photobooth research.
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Zhenxing: Competitive analysis of AR/VR heritage projects, 3D modeling techniques, and optimization for mobile devices.
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Jia Jia: Animation in cultural storytelling, motion design for rituals, and bringing traditional elements to life in MR.
By dividing the work this way, we were able to build a comprehensive understanding of the AR heritage industry and prepare ourselves for deeper project development in the coming weeks.
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| Fig2.4 Week 3 |
In Week 3, after receiving consultation feedback from Mr. Mike, we realized that most of our contextual research mainly focused on technical and theoretical aspects of AR/MR, but lacked a clear understanding of our actual client, TrueXR, and their position within the industry.
To address this, I took the initiative to conduct a competitive analysis, comparing TrueXR with other XR companies in Malaysia. This helped us identify their unique strengths in cultural storytelling and immersive museum collaborations, as well as the competitive landscape they operate in. Through this research, we gained valuable insights into exhibition styles, past projects, and positioning strategies used by other agencies like FrameMotion Studio and Virtual X.
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| Fig2.5 Research |
Meanwhile, other teammates explored the planned exhibition site—Istana Satu at the National Museum—by gathering data about the floor plan, architectural elements, and cultural exhibits present at the location. These findings helped us better align our design approach with the environment and audience expectations.
Additionally, a few of our members focused on improving the visual layout and clarity of our Miro board, ensuring that all research findings were presented in a professional and organized manner for easier reference and collaboration.
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| Fig2.6 User Research |
This week, our group focused on conducting initial user research to better understand the potential audience for the WarisanXR project. Since our AR concept will be implemented in national heritage contexts, identifying common visitor types at the National Museum became an essential step.
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| Fig2.61 Museum interview |
To start, we divided the group into smaller teams. I worked on identifying and compiling visitor demographic data, focusing on students, local visitors, and tourists. We discovered that local museum-goers make up the largest group, accounting for around 48.65% of the total visitors, followed by students and foreign tourists. These insights helped lay the groundwork for developing relevant user personas.
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| Fig2.7 User persona student |
We also drafted several user persona templates—each representing a unique audience segment. I was specifically involved in designing personas for student visitors, including both local and international students. I found this particularly interesting because each group brought different learning goals and interaction preferences.
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| Fig2.8 Survey Question Research |
we advanced our work by conducting field interviews at the National Museum and began developing a more refined set of user personas based on real feedback. I took charge of the student category, interviewing a number of both local and international students. Their thoughts and learning expectations gave me valuable material to build an authentic and well-rounded persona.
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| Fig2.9 Google Survey Form |
Meanwhile, our group split into two parallel tasks. One team worked on drafting a Google Form survey aimed at understanding public perceptions of museums—including opinions on content, display methods, and technology integration. I supported this team by selecting and editing the header image to ensure it matched our project's cultural tone.
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| Fig2.10 Section 4 Analysis |
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Section 1 – Demographics (Yanny)Looked at respondents’ age, nationality, and background to understand who our potential audience is. This helped us identify key user groups such as tourists, locals, and students.
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Section 2 – Comfort with AR Technology (Yanny)Assessed how familiar users are with AR/VR technologies. This helped us determine whether onboarding instructions or tutorials would be needed in the final experience.
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Section 3 – AR Navigation & Interaction Preferences (Kar Yee)Investigated the interaction methods users prefer, such as tap, swipe, voice, or gesture. These insights help design an intuitive and accessible interface for WarisanXR.
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Section 4 – User Experience with AR (Guo Ying)I was responsible for this section, which focused on the users’ previous experiences with AR, such as what they liked, disliked, and found memorable. Based on the data, I also wrote the overall summary, which highlighted the importance of simplicity, immersion, and personalization.
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Section 5 – Public Interest in Royal Malay Heritage (Winnie)Examined how interested users were in learning about Royal Malay culture. The findings guide what heritage content should be emphasized in our AR storylines.
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Section 6 – Cultural Heritage Preference at National Museum (Winnie)Analyzed which cultural topics or ethnic groups visitors were most curious about. This helps us prioritize content that is meaningful and relevant to museum-goers.
In parallel, we also conducted on-site interviews at the National Museum to enrich our understanding of visitor needs and expectations. These insights were used to develop four user personas:
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Jia Jia analyzed interviews with students.
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Melvin focused on local Malaysian visitors.
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Zhenxing summarized insights from foreign tourists.
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Guo Ying (me) created the student persona (Jayden Lim) and contributed to the overall user experience summary from survey data.
These tasks together enabled us to align our design direction with real user expectations, combining both quantitative and qualitative data.
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| Fig2.11 Overall summary for section 4 |
Emphathy Map
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| Fig2.12 Emphathy map |
After that, we started working on the Empathy Map, and I was still responsible for the student segment. At the same time, my teammates created their own versions for foreign and local visitors.
These maps allowed us to better understand what different types of users see, think, feel, and do in a museum setting. It helped us clearly capture their needs, pain points, and motivations.
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| Fig2.13 Emphathy map of student |
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| Fig2.14 Coutomer Journey Map |
Define and Insight Discovery
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| Fig2.15 Insight Discovery |
I contributed my top 5 findings based on my assigned survey section (User Experience with AR), while my teammates did the same for their respective focus areas. These individual contributions reflected the diverse perspectives of our audience segments, such as tourists, locals, and students.
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Fig2.16POV and How might we |
Building on those insights, we co-developed a series of “How Might We” (HMW) questions to inspire solution-oriented thinking. These HMW questions were carefully framed to stay open-ended and user-focused, which helped guide our brainstorming in the next phase.
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| Fig2.17 Top 5 Findings |
Finally, we crafted a Problem Statement using the format of [user] + [need] + [insight]. This statement became the backbone of our project, serving as a design anchor throughout our ideation and prototyping stages. It ensured that everything we created was grounded in the actual user context.
During Week 8, our group visited Istana Satu, the proposed site for the WarisanXR exhibition. This field visit was crucial in helping us better understand the space conditions, user flow, and environmental factors that could influence our design decisions.
As we explored the area, I personally took charge of documenting the site through photographs, capturing important angles and spatial details to support our later design work. In addition, I also began drafting a preliminary layout of the space, which would later serve as a reference for our AR floorplan planning.
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| Fig2.18 Visit Istana Satu |
During our visit to Istana Satu, we identified several important site-specific considerations that would influence our exhibition planning. Firstly, the ticketing booth is located at the entrance of the National Museum, quite a distance from Istana Satu itself. This creates a navigation challenge, highlighting the need for clear and consistent directional signage to guide visitors smoothly from the main entrance to the exhibit. Additionally, Istana Satu is positioned beside the main museum building and is relatively hidden from view. To improve its visibility and attract foot traffic, we recommend using visual markers such as banners, flags, or attention-grabbing signboards near key intersections.
Inside the space, we observed that the lighting is quite dim, which could negatively impact both visibility and the overall ambiance. To address this, we propose the use of AR-enhanced lighting or additional spotlights to illuminate the interior effectively while also adding atmosphere. Moreover, the space inside Istana Satu is narrow and limited, requiring a compact and strategic layout that considers visitor flow and minimizes congestion during peak times. We also noticed a general lack of wayfinding signs, which makes it difficult for visitors to locate Istana Satu unless they already know where to go. This underlines the need for better wayfinding tools, including directional arrows, maps, or digital guides.
Lastly, it became apparent that visitors tend to pass through the space quickly without much engagement. To counter this, the exhibition should incorporate interactive features, such as AR storytelling, quizzes, or mini-games, to stimulate curiosity, promote active participation, and extend visitor dwell time. These insights collectively serve as a valuable foundation for refining our exhibition concept and ensuring a more engaging and accessible WarisanXR experience.
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| Fig2.19 Try AR glasses |
Beyond site observation, we also had the opportunity to test out the XREAL AR glasses on location. This hands-on experience helped us better understand how digital content would appear in real space, especially in terms of scale, responsiveness, and interaction methods. It also helped us identify technical feasibility within the space constraints of Istana Satu.
During the same session, we met with Justin from TRUEXR, where we asked questions about the goals and future vision of WarisanXR. Justin emphasized the idea of including diverse cultural performances in the experience, and mentioned that the exhibition could potentially tie into Visit Malaysia 2026—targeting both local and international visitors.
His insights gave us clearer guidance for shaping our overall theme and content focus, ensuring that what we propose remains relevant, appealing, and aligned with the client’s expectations.
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| Fig2.20 Ideation |
During the Ideation Stage, our team collaborated closely to transform initial research findings into a compelling AR exhibition concept for WarisanXR. The goal was to design an interactive experience that would revive the spirit of Citrawarna—not just through visuals, but through immersive storytelling and hands-on interaction.
The exhibition theme and concept—titled "Citrawarna: The Stages Once Silent”—was led and finalized by Winnie. She ensured the narrative aligned with both our research insights and the feedback received from TRUEXR. The storyline frames the visitors as "Wardens of Memory," entrusted to revive lost performances in four distinct cultural rooms: Malay, Chinese, Indian, and Indigenous (Sabah & Sarawak).
While Winnie crafted the overarching concept and story direction, I contributed by supporting the team in spatial planning, floorplan development, and assisting in shaping the Chinese stage mockup visuals with Yanny. My focus was on grounding the creative vision into something practical and clear for implementation—especially in later prototyping stages.
This phase set the foundation for the rest of our project, ensuring each member’s strengths were leveraged to bring the concept to life cohesively.
Once our overall concept was confirmed, we moved into structured task division to bring the narrative to life across all exhibition stages.
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| Fig2.21 Sabah Sarawak |
For the WarisanXR exhibition, my main responsibility was designing Station 2: Malay Room with Winnie, which highlights the rich cultural heritage of the Malay community. I crafted this space around themes of performance, symbolism, and tradition, drawing inspiration from iconic art forms such as Wayang Kulit, Joget, and Silat. The goal was to evoke a sense of cultural pride and resilience, using interactive elements to bring these traditional practices to life through AR.
The goal was to create an immersive and emotionally engaging AR experience that spotlights underrepresented voices while remaining interactive and intuitive for all visitors
How It Aligns
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HMW 1: Uses music and voice-narrated tattoo stories for emotional, story-driven AR.
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HMW 3: Highlights Indigenous traditions often overlooked in mainstream exhibits.
User Persona Match
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Noah: Low-text, engaging interaction via music and 3D avatars.
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Jayden: Step-by-step learning through interactive tattoos.
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Mohid: Family-friendly and intuitive for all generations.
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| Fig2.22 Task distribution and content |
At this stage of the WarisanXR project, our team moved into detailed refinement, focusing on designing the narrative flow and interactive transitions across all rooms.
To enrich the visitor journey, my teammates developed a system that combines Pak Citra—a guiding AR character—with interactive light trails and badge collection. This concept turns navigation into a culturally immersive experience while helping users stay oriented.
Each room now features:
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A guiding companion (Pak Citra) for intuitive movement
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Badge collection mechanics tied to cultural exploration
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Visual and sound cues to indicate progress and guide attention
Meanwhile, we also created two visual states for each cultural room:
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Broken Stage – A faded starting point representing cultural elements that need to be revived
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Revived Stage – A vibrant transformation unlocked through user interactions like tapping, rotating, or exploring props
These visuals are paired with contextual explanations to emphasize cultural meaning and how AR triggers engagement.
While I was not directly responsible for these sketches, I supported the integration of the visual flow with our overall space layout, ensuring all transitions made sense within the floorplan.
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| Fig 2.23 Floorplan |
As we entered the refinement phase of WarisanXR, I took the lead in conceptualizing the exhibition’s overall floorplan and spatial flow, ensuring the setup would work seamlessly within the physical constraints of Istana Satu.
My focus was on creating an intuitive and manageable visitor journey, especially considering crowd control and limited room size. Through multiple discussions with the team, I proposed and diagrammed three layout plans:
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Plan A: A straightforward linear path
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Plan B: A cross-flow variation for staggered movement
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Plan C (Selected): A dual-lane traffic system where visitors enter from two opposite ends, exploring cultural rooms in parallel before converging at the final Unity Room.
This system allows 15 visitors per session and avoids bottlenecks, making the experience smooth for both families and school groups. The color-coded rooms and partitioned zones also improve visibility and thematic clarity.
Additionally, I photographed the actual site and used these visuals to inform our mockup sketches and help anchor the floorplan ideation in real space.
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| Fig2.24 Art Direction |
As we entered the final phase of ideation, our team focused on refining every aspect of WarisanXR—from visual style and storytelling to interaction flow and spatial design. While several teammates took the lead in specific areas, I contributed meaningfully by assisting across different tasks, especially when they encountered design or conceptual challenges.
For the Art Direction, Winnie and the rest of the team led the creation of the overall visual style, which included developing the color palette, typography, and cultural motifs. While they spearheaded the design direction, I supported by conducting visual research to gather reference materials, studying how traditional patterns, materials, and textures from Malaysian heritage could be translated into digital visuals without losing authenticity. I compiled references from museum archives, AR case studies, and festival design to provide the team with examples of how to balance vibrancy and clarity in AR settings. This helped inform their decisions around contrast, readability, and atmosphere.
In the Key Visual Mockup task (led by Yanny and Winnie), I specifically focused on strengthening the visuals for the Malay Room alongside Winnie. We ensured that key interactive elements—such as the keris, wayang kulit, and traditional dance motifs—were visually prominent and culturally respectful. I also provided design feedback to enhance how holographic and ambient elements could support the theme of “cultural resilience and performance.
For the Spatial Floor Plan, which I co-led, I drew on my own sketches and field observations to help visualize user flow across all rooms. However, I also gave input on how the visual environment (colors, cultural trails, lighting cues) could guide users through transitions naturally—tying into the navigation system designed by Melvin and Winnie. When they needed help with badge systems or AR trail visibility, I researched similar AR wayfinding systems and suggested improvements based on existing user experience studies.
Finally, during the Proposal Finalization, I worked with everyone to review and polish the content. I reviewed slides to ensure each cultural room’s story was consistent with our personas and client feedback. Whenever a teammate struggled with section coherence or visual clarity, I stepped in to provide references or suggested rewrites, helping the group stay aligned.
Chinese Stage Mockup
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| Fig2.25 Chinese Stage Mockup |
At this stage of the project, our team focused on crafting a compelling narrative arc to tie all rooms together meaningfully. The core storyline envisions a future where the vibrant national festival Citrawarna has been forgotten, leaving its cultural stages in silence. Visitors step into the role of a Warden of Memory, guided by Pak Citra, a mythical AR guardian, to embark on a journey to revive Malaysia’s rich heritage.
Each cultural room—Malay, Chinese, Indian, and Borneo—presents a mission: use AR gestures to repair broken symbols, restore rituals, and awaken traditional performances. Upon completing these interactive tasks, visitors collect emblems, representing the revived cultural spirit. These emblems eventually restore a sacred scroll, leading to the Unity Room, where all cultural elements converge in a grand projection-mapped finale at Merdeka Square, symbolizing harmony through dance, music, and fireworks.
To simulate and visualize this immersive journey, Yanny and I selected the Chinese Stage for our high-fidelity demo. We chose it not only for its iconic visual richness—such as opera backdrops, red lanterns, and classical props—but also because it allowed us to showcase the transformation from a broken to a revived state in a very dramatic and meaningful way.
Winnie, Yanny, and I worked together on the Chinese mockup stage, focusing on how the environment would respond to user gestures. We designed the sequence in which props revive, how lighting shifts to support key narrative moments, and ensured that the interaction flow would feel intuitive for all age groups. I also collaborated with Yanny on the visual effects and transitions—making sure the glowing stage revival, AR overlays, and emblem appearance felt smooth, immersive, and culturally resonant.
This hands-on stage mockup helped us test and refine the story delivery, ensuring our design not only looked beautiful but also supported a deep emotional and cultural experience for users.
Task 2: Project Management
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| Fig3.0 Stage |
Winnie, Yanny, and I worked together on the mockup stages for all five cultural rooms, focusing on how each environment would respond to user gestures. We carefully designed the revival sequence of key props, the lighting shifts to support narrative beats, and ensured that the interaction flow remained intuitive and engaging for users of all ages. I also collaborated with Yanny on the visual effects and transitions—ensuring that the glowing stage revivals, AR overlays, and emblem appearances were smooth, immersive, and culturally resonant across all rooms.
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| Fig3.1 Stage Design |
Stage Design & Production Collaboration
After completing our proposal, we entered the Design Iteration Stage, where the team focused on polishing visuals for all four cultural stages and the Unity Room. Winnie, together with Yanny and me, led the development of three key visual versions for each room: the Broken Stage, the Revived Stage, and the Projection Mapping Finale.
Winnie directed the overall concept and visual consistency, while I actively supported stage design by helping with prop reference research, layout planning, and developing the projection mapping visuals for the Unity Room finale. My role ensured that the visual storytelling stayed aligned with both cultural context and interactive flow.
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| Fig3.2 Navigation |
For the navigation system, Kar Yee and Jia Jia designed the visual elements for each cultural navigation ribbon, representing Malay, Chinese, Indian, and Indigenous themes. Once their design work was completed, I animated the ribbons using After Effects, giving them fluid motion and glowing trails to simulate an AR-guided path. These ribbons were essential for keeping visitors immersed and guiding them smoothly through the stages.
Alongside this, I also supported Winnie and Zhenxing’s totem and emblem designs by integrating their assets into the navigation video. Eventually, I compiled and produced the final navigation animation in After Effects, showcasing how Pak Citra, the ribbons, and the emblem-to-totem interactions would look and feel within the AR experience.
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| Fig3.3 Marketing |
Marketing & Visual Support
While Winnie and Yanny led the creation of the main WarisanXR poster, social media posts, and microsite design, I provided assistance by ensuring visual consistency between marketing elements and our in-stage designs.
Through this multi-stage collaboration, I contributed heavily to the interactive layer of navigation and finale projection, ensuring our visual storytelling felt both seamless and culturally immersive across the entire exhibition.
Final User Journey Storyboard
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| Fig3.4 Storyboard |
As we progressed toward the final phase of design, our team split responsibilities to develop both AR and non-AR storyboards for WarisanXR. Winnie led the AR Experience Storyboard, detailing how users would engage with holographic props, revived performances, and gesture-based interactions using AR glasses. The storyboard carefully mapped out user flow and visual effects to ensure the experience felt seamless and intuitive.
While she spearheaded the AR storyboard, I actively supported the process by reviewing gesture mechanics, researching best practices for AR-based UI, and refining visual transitions to enhance immersion. My focus was to ensure that each AR moment not only worked technically but also aligned with our overall storytelling tone.
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| Fig3.5 Non Ar Storyboard |
In parallel, Melvin, Jia Jia, Zhenxing, and Kar Yee worked on the non-AR user journey, emphasizing physical navigation, projection-mapped visuals, and interactive set props to ensure accessibility and engagement for all visitors, including those without AR glasses. I collaborated with them where needed, offering visual references and feedback on projection integration, based on my earlier involvement with stage visuals and AR ribbons.
Throughout the project, we were especially grateful to have Winnie as our team leader. Each week, she consistently represented us in consultations with Mr. Mike, taking detailed notes and helping translate feedback into clear action points for the team. She also led the iteration process, ensuring our ideas were refined and aligned with both the brief and feedback.
Beyond design contributions, Winnie also handled the organization of our Miro board and documentation, keeping everything structured, up-to-date, and easy for everyone to reference. Her leadership and dedication kept our team on track from start to finish, and we deeply appreciate the time and energy she invested into making WarisanXR a success.
Task 3: Final Presentation
Since I had already presented during earlier checkpoints, for the final client presentation with TRUEXR, we decided to give the spotlight to team members who hadn’t had the chance to present yet—ensuring everyone had a chance to showcase their contributions.
The session with Mr. Justin and the TRUEXR team marked a meaningful conclusion to our semester-long journey. It was incredibly rewarding to hear their positive feedback on our AR proposal, especially their recognition of our effort in research, storytelling, and cohesive design direction. Their encouraging words truly validated the hard work we had poured into WarisanXR.
At the same time, they also provided constructive technical advice to help make the concept more viable for real-world implementation. For example, they recommended exploring WebGL AR for better accessibility and suggested a low-poly visual direction to improve performance on mobile/web platforms.
Overall, their feedback was both insightful and motivating. It not only affirmed our team’s vision but also gave us valuable guidance for future AR development and client-based projects.
Feedback
Reflection
I’m especially grateful to our team leader, Winnie, who played a key role in holding everything together. Her proactive communication with Mr. Mike, structured documentation, and consistent follow-ups helped keep the project moving forward. Thanks to her leadership, each of us was able to stay focused on our individual responsibilities and contribute meaningfully to the final outcome. WarisanXR would not have come together as smoothly without her support and clarity.
On a personal level, this project gave me a lot to reflect on—particularly around my own time management and confidence in applying technical skills. There were moments I wished I had been more decisive or efficient, but those moments became opportunities for growth. I now have a clearer understanding of the areas I want to improve, whether in design, software capabilities, or managing multiple deliverables more effectively.
If given the opportunity to work on a similar project again, I hope to apply these lessons to improve how I collaborate, plan, and support my teammates. While it was a demanding experience, it was also incredibly rewarding and packed with valuable takeaways I’ll carry with me into future creative and professional endeavors.
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