Design Exploration
Lew Guo Ying / 0365721 / Bachelor of Design in Creative Media
Design Exploration
Task 1: Project Proposal
Index
Lectures
Finally, we were guided to compare our current abilities with industry expectations to identify additional skills to develop or areas to strengthen, helping us decide whether to specialize deeper or expand more broadly in our design journey.
Instructions
Students are expected to generate their own brief, supported by research and conceptual exploration, to define a clear design direction aligned with their specialization.
Assessment is based on how effectively the proposal identifies opportunities, frames the concept, and sets up development for the following stages.
Portfolio Analysis
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| Fig2.1 Module Work |
Through the review of my past semesters’ works, I summarized my current portfolio strengths in both hard and soft skills. These strengths reflect my accumulated growth across various design disciplines and my readiness to move toward a more specialized design direction.
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| Fig2.2 Strength & weakness |
Hard Skills (Technical & Creative Skills)
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Wide-ranging Design Experience – Covered photography, illustration, typography, branding, motion, and game design.
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UI/UX Core Strength – Specialized in application design, usability, prototyping, and design systems.
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Information & Research Foundation – Experience in user research, information design, and conceptual methodology.
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Emerging Tech Exploration – Involvement in XR / Experiential, AR/VR, and gamified interaction projects.
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Software Proficiency – Skilled in Adobe Suite (Photoshop, Illustrator, After Effects, Premiere, Audition), Figma, Adobe XD, Unity, Canva, Lottie, and FlutterFlow.
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Web & Interactive Development – Knowledge of HTML, CSS, and C# scripting for Unity-based interactions.
Soft Skills (Professional & Personal Skills)
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Collaboration & Leadership – Demonstrated teamwork and leadership in group projects and industry-like collaborations.
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Critical Thinking & Problem Solving – Ability to identify design challenges and propose innovative, user-centered solutions.
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Adaptability & Lifelong Learning – Open to learning new tools, design methods, and technologies to stay aligned with industry evolution.
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Communication & Presentation – Capable of articulating ideas clearly through visual storytelling, documentation, and pitch presentations.
Industry Outlook
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| Fig2.3 Global and local comparing |
I researched the industry outlook by comparing Global vs Local (Malaysia) trends and auditing multiple job posts across different sectors (agency, product, fintech/Web3, MedTech, consulting, enterprise SaaS). For each company I mapped: overview, industry, scale, company values, position, job emphasis, technical skills, design tools, soft skills, platforms, and design system maturity.
Global vs Local — Key Differences
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Design Systems as Core: Global teams standardize with Figma tokens / DS libraries; local firms are adopting gradually.
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AI-enhanced workflow: Global uses AI for ideation, prototyping, asset generation; local usage is growing but uneven.
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Data-Driven UX & Accessibility: Global emphasizes usability testing, analytics, WCAG; local focus varies by sector.
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Cross-platform: Global expects Web + Mobile + XR/Web3; local often Web/Mobile first, XR as a plus.
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Cultural/Multilingual UX: Both value localization; Malaysia adds strong multilingual requirements.
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| Fig2.4 Company comparision |
What companies ask for:
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Hard skills: Wireframing/Prototyping, Design Systems, Usability/Accessibility, Motion/Micro-interactions, 3D/XR (bonus).
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Tools: Figma, Adobe Suite, Unity/Blender (for XR/3D), analytics & testing tools.
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Soft skills: Communication, cross-team collaboration, leadership, consulting mindset, adaptability.
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Platforms: Web, Mobile, XR, Web3, dashboards, multi-language.
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Design system: From style guides to tokenized component libraries.
Portfolio vs Industry — My Match
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Strengths: UI/UX core, Design System basics, XR/Experiential & Gamification, visual/motion, team leadership.
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Gaps: Research documentation & analytics, Accessibility (WCAG) practice, 3D/Blender/WebGL depth, AI-driven design workflow.
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Implication: I’m competitive for Product Tech / Fintech DS / XR-AI startups; to target MNC/MedTech/Consulting/Enterprise SaaS, I will strengthen research, accessibility, and system thinking.
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| Fig2.5 Ideation |
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| Fig2.6 References |
Based on the discussion, I decided to continue my Tarot Card project — as it aligns strongly with my interest in visual storytelling, branding, and experiential UX.
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| Fig2.7 Animation references |
Task 2&3: Project Development and Portfolio
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| Fig3.1 Tarot card Waite |
This step is essential as the project aims to integrate Chinese cultural aesthetics while maintaining the original symbolism of the tarot cards during the process of modern reinterpretation.
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| Fig3.2 Observation Summary & Element Selection |
After observing the Rider–Waite tarot cards, I simplified the findings into a clear list to support the redesign process. For each card, only the card number, card name, and key elements to retain were recorded.
This method preserves the original tarot structure and symbolism while allowing greater flexibility for modern reinterpretation.
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| Fig3.3 Advanced Interactive Tarot Card Outcome |
When reviewing my previous Advanced Interactive Design outcomes, I realised that the project only covered a limited number of Minor Arcana cards, along with card backs and packaging, and a few Major Arcana cards.
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| Fig3.4 Chinese Style Tarot Card |
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| Fig3.5 Chinese cups |
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Cups
Represent emotion, intuition, and flow, and are translated into a Chinese wine vessel. This form symbolises emotional depth, purity, and fluidity, aligning with the water element.
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Wands
Represent fire, willpower, and action, and are reinterpreted through symbolic talismans and energy lines, reflecting spiritual force, intention, and creative ignition.
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Swords
Represent air, logic, and conflict, and are transformed into folding fans or sharp concealed forms, expressing speed, precision, and the cutting nature of thought.
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Pentacles
Represent earth, material value, and stability, and are translated into ancient Chinese coins, symbolising security, grounding, and tangible reality.
Through this approach, the Minor Arcana becomes a four-element system that balances traditional tarot symbolism with a distinct Chinese visual identity.
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| Fig3.6 Sketch |
The next step focused on sketching to finalise the four Chinese elements for the Minor Arcana.Through visual testing, the elements were confirmed as folding fan, ancient coin, wine vessel, and talisman.
The sketches prioritised clear structure and silhouette, ensuring the elements could be repeated consistently across multiple cards.Based on these explorations, I decided to develop the elements further using a neon outline approach.
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| Fig3.7 Neon Outline Development |
In the next stage, the sketches were developed into coloured elements with enhanced neon outlines. To achieve a stronger glow effect, I used multiple outline layers, with the lightest colour placed at the centre and lower opacity outlines layered outward to simulate neon lighting.
The neon effect is subtle on a white background, so the elements are presented primarily on a dark background to improve contrast and visibility. As the Minor Arcana elements repeat frequently, excessive detail was intentionally avoided to prevent visual clutter and maintain clear focus.
Each element follows its own elemental colour logic: blue for Cups (water), red for Talismans (fire), silver-white for Fans (air), and earth-toned hues for Coins. For the coin element, the original idea of placing text in the centre was removed, and instead layered geometric patterns were used to simplify the form while retaining visual interest.
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| Fig3.8 Card Back Design |
The next stage focused on the card back design, where a deep blue background was paired with gold decorative elements to reflect a calm, elegant, and mystical Chinese aesthetic.This colour combination helps establish a quiet and stable tone that contrasts with the glowing elements on the card fronts.
I experimented with
cloud motifs as secondary
decoration, testing both
outline and solid versions,
which added visual depth without overwhelming the composition.
For the logo, I combined the
Bagua symbol with a
lotus motif, and tested
different
angles and perspectives to
introduce a sense of dimensionality.
The final outcome is presented as four variations, allowing flexibility while maintaining a consistent visual identity, as shown in the bottom-left designs.
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| Fig3.9 Character Development |
For the character designs, I initially based the figures on the original Rider–Waite tarot cards, retaining their poses and symbolic gestures to preserve meaning. However, after testing, I found that light-toned ink-wash backgrounds significantly reduced the visibility and impact of the neon outlines used for both characters and elements.
Due to this visual limitation, I decided to
abandon the original ink-wash background direction, as it could not effectively support the neon-based style.
At this point, the
Chinese aesthetic integration for character backgrounds was
paused.
Despite this shift, character development continued. The visual treatment was adjusted from neon outlines to semi-transparent neon fills, allowing the figures to remain luminous while working more effectively against darker backgrounds.
Direction Change
The focus moved towards polishing and subtle innovation, using the existing outcomes as a base to complete the remaining designs. While the neon visual language was retained, its application was refined.
Instead of applying neon to both elements and outlines, the neon treatment was concentrated on characters only, using semi-transparent neon fills to achieve a softer and more controlled glow.
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| Fig3.10 Element Refinement |
Following the direction change, I returned to the Minor Arcana elements as the starting point for further refinement. As Wands were not fully developed previously, I redesigned them as twisted wooden branches with a crystal core, symbolising growth, energy, and activation.
The remaining elements were refined through detail adjustments and colour variations to improve consistency across the set. These refinements focus on balancing form, glow intensity, and colour logic, ensuring all four elements share a unified visual language.
Through this process, the final four Minor Arcana elements were established, forming a coherent system to support the completion of the deck.
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| Fig3.11 Color & Typography |
For the colour system, I established two tonal directions: cool and warm, which correspond to the four Minor Arcana elements. This separation helps differentiate elemental moods while maintaining overall harmony across the deck.
The colour palette was selected to balance clarity, contrast, and emotional tone, ensuring the elements remain readable when combined with glow effects. In terms of typography, elegant and refined typefaces were chosen to reinforce the calm and timeless character of the tarot cards.
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| Fig3.12 Character Pose Extraction |
In the next step, I analysed the original Rider–Waite Minor Arcana cards and extracted the core character poses and actions. Rather than copying full illustrations, the focus was placed on gesture, movement, and body direction, which convey each card’s meaning.
These poses were simplified into clean line sketches, serving as a structural foundation for later character design and visual development. This step ensured that the redesigned characters would remain symbolically accurate while allowing flexibility for stylistic interpretation.
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| Fig3.13 Card Front Composition |
In the next stage, the characters were coloured using a semi-transparent neon fill, creating a soft glow that integrates smoothly with the card background. The characters were then placed into the final card layout, along with Roman numerals and card names, to establish visual hierarchy.
To support the luminous figures, a dark starry background was used. Stars and orbs were added as subtle decorative elements, enhancing depth and atmosphere without distracting from the main subject.
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| Fig3.14 Character Colour & Glow Treatment |
The characters are filled using the established colour palette, with each colour corresponding to its elemental tone. A neon glow effect is applied around the figures to enhance presence while keeping the forms soft and readable.
This approach allows the characters to remain visually expressive without overpowering the card composition.
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| Fig3.15 Detail Control & Visual Focus |
Additional refinements were made to enhance spatial clarity and visual focus. When Minor Arcana elements are held by characters, depth and overlap were adjusted to create the impression that the objects are physically grasped rather than floating.
For secondary elements such as plants, I intentionally used flat dark green fills and avoided glow effects. Although this choice may appear visually plain at times, it helps push attention toward the brighter characters and core elements.
Similarly, stars and orbs were kept without glow effects. By reducing overall brightness, the visual hierarchy remains clear, ensuring that characters, gestures, and elemental symbols stay as the main focal points.
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| Fig3.16 Card Assembly |
After finalising the character fill colours, a semi-transparent neon effect was applied to unify the figures across the deck. The characters were then arranged consistently within the card frames, ensuring alignment, scale, and visual rhythm remained stable.
Next, stars and orbs were added as subtle accents, followed by fine-tuning of details such as overlap, occlusion, and spatial depth. Special attention was given to hand–object interactions, making sure the grasped elements felt embedded in space rather than floating.
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| Fig3.17 Minor Arcana |
At this stage, the Minor Arcana set was fully completed, covering all four suits with a consistent visual system. Each suit was differentiated through colour temperature and elemental tone, while maintaining unified composition, lighting, and hierarchy.
With the Minor Arcana finalised, the project progressed into the design and development of the Major Arcana, building upon the established visual language.
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| Fig3.18 Major Arcana |
The Major Arcana represents a more complex narrative, symbolising the cycle of human life. It reflects a journey from birth and innocence, through growth, struggle, transformation, death, and ultimately return and transcendence.
In this series, all four elemental colours are alternated and blended across the cards, reinforcing the idea that different forces shape each life stage. Some Major Arcana cards also integrate Minor Arcana elements to maintain symbolic continuity throughout the deck.
Notably, the characters are designed without facial features. This intentional abstraction allows the figures to represent any individual, encouraging viewers to project themselves into the cards and use tarot not only for divination, but also for self-reflection and inner exploration.
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| Fig3.19 Final Layout |
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| Fig3.20 Card Corner |
After completing all card designs, I organised the entire deck into a consistent artboard system, ensuring proper alignment and visual coherence. The final card size was set to 7 cm × 12 cm with 0.5 cm rounded corners, preparing the deck for export, presentation, and potential print use.
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| Fig3.21 Packaging |
For the packaging, I continued the overall visual style of the deck by using a dark base colour with gold decorative details, creating a calm, elegant, and slightly mysterious atmosphere. The front design features golden borders and patterns, combined with the smiling logo from the card back. I tested several typefaces and colour variations before selecting the final combination that feels balanced and refined.
For the back of the packaging, I reused and combined symbols from the card designs, such as ram horns, the moon, triangles, and the Wheel of Fortune. These elements are layered into a hexagram-like geometric form, representing fate, cycles, and transformation. This approach helps the packaging feel visually connected to the tarot deck rather than separate from it.
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| Fig3.22 Side Logo Exploration |
For the side panels of the packaging, I explored a set of logo-like symbols to add visual interest to all four sides. These designs are constructed using the golden ratio, combined with different moon phases and circular forms. The goal was to keep the symbols minimal and abstract, while still reinforcing the mystical and celestial theme of the tarot deck.
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| Fig3.23 Top Edge Design |
For the top short edge of the packaging, I placed the main logo together with semi-transparent typography. The faded text helps add depth without overpowering the logo. At this stage, the overall structure and layout are mostly finalized, and the next step is to bring everything into Photoshop for further visual polishing and effect enhancement.
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| Fig3.24 Mockup Preparation (White Models) |
I also created several white mockup models in Illustrator so I could easily use them later in Photoshop. These white models help me quickly test different layouts, lighting, and angles without being distracted by colours or details. Some of the angles—especially the top-right one—also allow the packaging structure to be shown more clearly.
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| Fig3.25 Packaging Visual Enhancement (Photoshop) |
In Photoshop, I enhanced the packaging to feel more cosmic and atmospheric. I added a galaxy background, but kept it subtle so it wouldn’t overpower the design. This helps the gold details and line work stand out more clearly.
I then adjusted Levels, Brightness, and Contrast to balance the overall tone. Finally, I added a soft Outer Glow to selected elements to give the packaging a gentle luminous effect, making it feel more magical without becoming too bright. This resulted in the final packaging look shown above.
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| Fig3.26 Mockup |
Using the white mockups created in Illustrator, I brought both the cards and the packaging into Photoshop. I applied them onto the mockups using Vanishing Point, then adjusted the background colours to test different presentation moods.
In the first set, I focused on showing the cards themselves. Even though the artwork was created as vector in Illustrator, once placed into a Photoshop mockup it became slightly softer, so I fine-tuned the lighting, shadows, opacity, and glow effects to enhance depth and atmosphere.
The second set follows a similar process, but places more emphasis on the luminous and magical glow of the cards. The third set showcases the packaging, testing how it performs on both light and dark backgrounds to ensure visual consistency and flexibility.
Finally, I experimented with a hand-holding mockup, allowing the cards to feel more tactile and human, helping viewers imagine how the deck would look and feel in real use.
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| Fig3.27 Mockup |
Lastly, this is the mockup presentation done in Photoshop.
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| Fig3.28 Packaging with Card |
I also created card and packaging mockups like this, but the process was quite time-consuming. Each card needed individual brightness adjustments to achieve the neon glow and material quality, which made the workflow inefficient. Because of this, I started looking for an alternative approach. That’s when I decided to try using Blender. Although I had no prior experience with it, I quickly explored the software and experimented to produce the results.
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| Fig3.29 Card in Blender |
At the beginning, I placed several planes in Blender and applied my card designs using shading and materials. I then adjusted properties such as roughness and metallic values to better represent the card surface.
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| Fig3.30 Packaging in Blender |
After that, I moved on to the packaging. Unlike the cards, which only have two sides, the box has six faces, so each side needed its own texture and material adjustments. Once the textures and surface qualities were refined, the packaging started to take shape.
Finally, I placed all the cards into the scene, adjusted the lighting, and began preparing the shots for rendering.
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| Fig3.31 Animation |
In addition, I also experimented with creating two showcase animations. One focuses on presenting the cards themselves, while the other highlights the lighting and atmosphere.
Final Outcome & Submission
After that, I created several animations. The first animation uses camera movement to showcase the cards, allowing the overall layout and lighting to be seen clearly.
The second animation focuses purely on how the cards look under different lighting changes.
The third animation presents the full deck as a complete set.
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| Fig3.32 Card Layout |
Presentation Slide and video
After that, I prepared the presentation slides, combining this project with the previous industry outlook and my portfolio analysis. All of these were organised into the same slide deck.
I also prepared a presentation video to support the final showcase.
Project Management Document
All of final outcome for submission can view in Google drive
Feedback
Week 3:
Week 7:
Week 9:
Week 13:
Reflection
Observation
Findings
Experience
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