Illustration & Visual Narrative Task 1: Character Design & Merchandise and Packaging Design

Week 1-5 (20/4/2026-24/5/2026)

Emily Wong Jing Lin | 0394765

Illustration and Visual Narrative | Bachelor of Design (Honours) in Creative Media | Taylors University

Task 1: Character Design & Merchandise and Packaging Design

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Table of Content

1. Lectures

2. Instructions
3. Process Work-Character Design

4. Process Work-Merchandise & Packaging Design

5. Feedback
6. Reflection

*Figures are numbered by section type (Lecture = 1, Instruction = 2, Process Work = 3, etc.) and progression within that section. For example, Figure 1.6.1 means Lecture section, lecture 6, first figure.

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1. LECTURES

Lecture 1: Introduction & Briefing

20/4/2026 (Week 1)

The initial session provided a comprehensive briefing on the Illustration & Visual Narrative module, including an overview of the upcoming assignments and learning milestones.
To develop core technical skills, we utilized "The Bézier Game" as a foundational training exercise. This practice was instrumental in enhancing my understanding of Bézier curves and improving my precision with vector-based tools.

Lecture 2: Character Design Basic

27/4/2026 (Week 2)

1. Stylised Design

Stylised character design focuses on simplifying reality to create an immediate visual impact. It relies on three core pillars:

• Iconic: Characters are designed with distinct features so they remain instantly recognizable, even when reduced to a solid black silhouette (e.g., the distinct profile of Doraemon).

• Simplicity: By stripping away unnecessary details, the design allows viewers to easily digest and understand the character's purpose and personality at a glance.

• Unique: A simplified yet distinct appearance ensures the character stands out, making them both memorable and impactful to the audience.

2. Principles of Character Design

Shapes

• Geometric Foundations: Characters are built using fundamental shapes to communicate personality traits subconsciously.
• Visual Language: Circular and rounded shapes often convey warmth, friendliness, and approachability, whereas sharp angles or blocky shapes might imply strength, rigidity, or danger. Distinct, abstract shapes ensure a diverse and memorable cast.

Colour

• Identity and Mood: Colour palettes are applied strategically as block colours to establish a character's identity and emotional undertone.
• Readability: A well-defined, minimalist colour scheme ensures the character remains distinct and easily identifiable against various backgrounds.

Emphasis and Contrast

• Visual Hierarchy: Designers draw the viewer's eye to specific focal points by creating contrast between different elements of the character.
• Exaggeration: Key traits or accessories are emphasised to instantly signal a character's role, status, or unique quirks within the narrative.

Harmony

• Cohesive Design: All elements of a character—including shape language, proportions, and colour choices—must work together seamlessly to create a unified and believable figure.
• Cast Balance: Harmony also applies to a group of characters, ensuring they look as though they belong to the same world while still contrasting enough to remain distinct from one another.

Expression and Poses

• Externalising Personality: Poses and facial expressions act as a direct reflection of a character's internal thoughts and temperament.
• Minimalist Expressions: Utilising simple facial features (such as basic dots, lines, and blocks of colour) can convey a massive range of human emotion without overcomplicating the design.
• Body Language: Posture and specific gestural quirks communicate a character’s vanity, insecurity, or heroism to the audience without needing a single line of dialogue.

Tutorial: Prompt Matrix & Idea Generation

27/4/2026 (Week 2)

Prepare a table, in which you should fill in:

1. Who (occupation or animal)
2. Where (location)
3. Trait (personality) 
4. Twist (a characteristic or element)

After completing the table, use a web-based random dice roll to select five combinations. Finally, choose three combinations to sketch, drawing three thumbnails for each combination.

You can do research before drawing. When creating thumbnails, you can first outline the shape and then add details.

Lecture 3: Chiaroscuro

6/5/2026 (Week 3)

1. Definition and Core Concept

• Linguistic Origin: Chiaroscuro is an Italian term which translates directly to mean 'light-dark'.
• Core Definition: It refers to the use of light and dark to create the illusion of three-dimensional volume on a flat, two-dimensional surface.
• Application in Painting: Within paintings, this technique relies on clear tonal contrast to suggest three-dimensional volume and to handle the realistic modelling of both objects and figures.
• Historical Masters: The technique is historically associated with prominent artists of the period, notably Leonardo da Vinci and Caravaggio.

2. Spatial Principles: Positive and Negative Space

Effective visual layout relies on balancing the relationship between the subject and its surroundings:

• Positive Space: This refers to the main focus, subject matter, or primary object of interest in a visual layout.
• Negative Space: Refers to the filled space or background that surrounds the subject matter or object of interest in a visual layout.

3. Narrative Functions of Chiaroscuro

This method is applied across different scenes to achieve specific visual and storytelling goals:

• Increase Dramatic Tension: Gives thrilling emotive depth to the look and feel of the scene.
• Create Sensational Effect: Helps elevate familiar viewpoints to emphasise narrative impact.
• Attract Attention: Directs the viewer's focus to a particular subject matter or object of interest by separating it clearly from the background.
• Tasteful Composition: Utilises strong values to create a visually balanced and aesthetically pleasing piece of art.

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2. INSTRUCTIONS

https://drive.google.com/file/d/1V1olO6ReHW4Bf6mAiTcus0ioMC0vlEQK/view?usp=sharing

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3. PROCESS WORK- Character Design

Phase 1: Preparation

I initially prepared a matrix to outline potential concepts for the characters. 

Figure3.1.1 Table of Choosing Characteristic

Following this, I utilised an online dice roller to generate five unique combinations, ultimately selecting three distinct sets to develop further:

1. Jellyfish, Maze, Loneliness, Asteroid floating behind
2. Flamingo, Post Station, Calmness, Footsteps with flowers
3. Owl, Valley, Confusion, Holding a magic book

Phase 2: Research (Moodboard)

Once the concepts were finalised, I conducted online research to gather reference images of the respective animals (jellyfish, flamingo, and owl) to inform my designs. 

Figure3.2.1 References related to my thumbnails

Below are the final initial sketches:

Figure3.2.2 Sketches of Task1:Character Design

Lastly, I chose to refine the third character from the third combination (Owl, Valley, Confusion, Holding a magic book). The following is the sketch process:

Figure3.2.3 Sketch in Shapes

Figure3.2.4 Sketch in Lines

Phase 3: Line Art

During Week 4, I commenced the digital clean-up and line work using Adobe Illustrator (detailed feedback can be found in the consultation section below). Below is the uncoloured line art:

Figure3.3.1 Line Art of Character

Phase 4: Colouring & Final Outcome

In Week 5, I proceeded with the colouring phase, guided by Monday’s online tutorial and the presentation slides provided. Below is the final rendered version of the character design:

Figure3.4.1 Task 1: Character Design (with Colour Palette)

Figure3.4.2 Final Outcome of Task 1: Character Design

Rationale and Prompt Matrix

Artistic Exaggeration: This character incorporates a degree of artistic license and deliberate exaggeration, meaning its visual presentation deviates slightly from a real-world owl:

1. Facial Expression: To effectively convey the character trait of "confusion", I designed the character with asymmetrical eyebrows, with one raised higher than the other.
2. Flexible Forelimbs: The character's left wing has been anthropomorphised with hand-like dexterity to cradle a magic book. In reality, an owl's wings function solely for flight and thermal insulation, lacking the anatomical capability for prehensile gripping.
3. Spherical Silhouette: To emphasise a cute, "chibi-style" aesthetic, the owl’s body has been simplified into a spherical form. In nature, whilst an owl's plumage appears fluffy, its underlying anatomical structure is actually highly streamlined.

Sources of Inspiration:

1. Erect "Ears" on the Crown: This feature is inspired by a specific species of owl: the Long-eared Owl (Asio otus). The iconic "long ears" on top of its head are, in fact, entirely unrelated to its hearing; its actual ears are hidden beneath the feathers of the facial disc behind the eyes. These tufts serve primarily as a means of camouflage (disrupting the bird's silhouette) and as a form of visual communication between conspecifics.
   • Design Consideration: Notably, the two ear tufts of a Long-eared Owl are set closer together near the centre of the crown and appear more vertical, which perfectly aligns with my character design. Conversely, its relative, the Eurasian Eagle-Owl (Bubo bubo), has ear tufts that sit further outward on the sides of the head, flaring laterally.
2. Sharp, Downward-curved Beak: An owl's beak curves sharply downwards in nature to prevent it from obstructing the bird's line of sight. Because an owl's eyes are exceptionally large and fixed immovably within their sockets, a standard forward-protruding avian beak would severely block its central vision.
3. Disproportionately Large Eyes: Although the size of the eyes includes an element of artistic exaggeration, an owl's eyes in reality are remarkably immense—so much so that they fully occupy the bony sockets of the skull.

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4. PROCESS WORK- Merchandise & Packaging Design

1. Sketches

Figure4.1.1 Sketches of Bamboo Cabling Set

Figure4.1.2 Sketches of  Biodegradable Cork Mouse Pad with Wireless Charging

2. Moodboard

Figure4.2.1 Moodboard and References of Sketches

3. Rationale and Prompt Matrix 

Bamboo Cable

A. Box Packaging

Front Design:

The visual core of the front packaging is creatively adapted from the classic recycling emblem. The symbol’s three infinitely looping arrows are reinterpreted to represent the three fundamental pillars of the economic system: households, firms, and the government. Believing that environmental protection is intrinsically linked with the economy, I integrated these three elements to illustrate the indispensable roles they play in eco-preservation. Each sector—households, firms, and the government—bears its own distinct responsibility and commitment towards a sustainable future.

Back Design:

The back of the packaging utilises a comic-strip format to seamlessly blend campus lifestyle with sustainable elements. This narrative approach effectively captures the unique ways students engage in environmental protection, whilst highlighting green awareness initiatives within the university.

B. Sleeve

As this merchandise is a cabling set, the design cleverly stylises the cables as the veins of a leaf, harmoniously fusing our digital product with elements of the natural world.

C. Cover Design

The cover design is explicitly inspired by Mother Earth, incorporates motifs of nature and eco-consciousness. Given the relatively compact dimensions of the cover, the layout has been kept purposefully clean and minimalist to maintain a modern, uncluttered aesthetic.

Biodegradable Cork Mouse Pad with Wireless Charging

A. Box Packaging

The core visual of the box packaging focuses on a student dashing through the campus on a skateboard. The originally parched, cracked ground magically transforms into a lush, vibrant green path along the trajectory of the skateboard. This serves as a visual metaphor, implying that through the collective eco-efforts and initiatives of the student community, the withered earth can be revitalised and restored to green prosperity.

B. Sleeve

The sleeve design features a modern, stylised lightbulb as its focal point. Enclosed within the bulb is a pair of hands gently cradling a handful of soil, from which a tender young sapling grows; the lightbulb itself symbolises "hope" for a sustainable future. The background is subtly adorned with minimalist plant silhouettes to further enhance the theme of harmony between humanity and nature.

C. Cork Mousepad (1 section)

According to the design layout specifications for the cork mouse pad, I was required to develop either the left or the central section. I chose to focus on the left-hand composition, where the Earth is shown semi-exposed, partially encircled by the word "SUSTAINABLE"—one of the core themes of this merchandise project. I believe this unconventional composition, paired with modern typography, creates a visually striking and profoundly meaningful design language.

4. Final Outcome

Lastly, based on Mr. Fitri's suggestion, I chose the Bamboo Cabling Set for detailed drawing.

Figure4.4.1 Final Outcome of Bamboo Cable

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5. FEEDBACK

5.1 Character Design

Week 1

General Feedback: No general feedback was given.

Specific Feedback: No specific feedback was given.

Week 2

General Feedback: On Wednesday of Week 2, students could begin creating a table and sketching thumbnails based on Monday’s online tutorial. These initial drafts are to be presented to Mr. Fitri during the face-to-face class on Wednesday of Week 3 for consultation.

Specific Feedback: No specific feedback was given.

Week 3

General Feedback: Students began presenting their initial thumbnail drafts to Mr. Fitri to gather feedback. Following this, everyone was required to select one out of the nine thumbnails to proceed with the line art. The subsequent digital clean-up and line work must be executed in Adobe Illustrator.

Specific Feedback: Mr. Fitri recommended that I select either the first or the third character from the third combination for further refinement. Although the jellyfish in the first combination was a viable option, the subsequent task requires writing a backstory for the character; choosing a jellyfish would confine the narrative entirely to the seabed, severely limiting my creative scope. The flamingo in the second combination was not recommended either, as its anatomy is rather challenging to draw. Regarding the second owl character in the third combination, the magic book felt more like a static background rather than an interactive element with the character, so it was also ruled out. Ultimately, I chose to refine the third character from the third combination.

Week 4

General Feedback: This week, students could proceed with the colouring of their characters, following Monday’s online tutorial. Furthermore, we were assigned a new brief: a Merchandise & Packaging Design project. This is a collaboration between TDS and TMS, where selected designs will be featured and sold on the university’s eco-friendly products; therefore, this assignment requires substantial focus. We are required to sketch drafts for two types of merchandise and present them to Mr. Fitri for consultation next week.

Specific Feedback: No specific feedback was given.

5.2 Merchandise & Packaging Design

Week 5

General Feedback: Students presented their respective merchandise design drafts to Mr. Fitri to finalise one chosen concept for further development and refinement.

Specific Feedback: I presented my merchandise drafts to Mr. Fitri, and he advised me to proceed with the Bamboo Cabling Set design. Regarding the cover design, he suggested avoiding overly intricate graphics, as the physical cover size is quite compact and complex details would not render well. Consequently, I redrew a new version with cleaner lines and simpler patterns, which was subsequently approved. Furthermore, the original, more complex cover design was reassigned to serve as the front design for the box packaging.

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REFLECTION

Experience

Over the past five weeks, I have undergone a comprehensive design workflow spanning character creation and merchandise packaging design. My journey began with conceiving character ideas, utilizing an online randomised tool to select the final combination of an owl with a magic book. Following thorough visual research using online animal references, I executed the digital clean-up, line work, and final colouring within Adobe Illustrator. Concurrently, I participated in a cross-disciplinary collaboration between TDS and TMS, developing a "Bamboo Cabling Set" along with its box and sleeve packaging under the theme of campus sustainability. Throughout this experience, I iteratively refined my designs based on constructive tutor feedback from Mr. Fitri—most notably, simplifying the compact cover design and strategically reassigning the original intricate layout to serve as the front focal point of the main box packaging.

Observation

I observed that a character's narrative potential is intrinsically bound to its environmental setting. For instance, whilst a jellyfish concept is visually appealing, a marine setting severely confines the subsequent storytelling scope; similarly, static props—such as the owl’s magic book—can make a character appear rigid if there is a lack of dynamic interaction. Furthermore, regarding merchandise design, I observed that the visual scale of a design is paramount. Intricate patterns and fine lines do not translate well onto compact mediums (such as small covers), as complex details tend to compromise visual clarity when scaled down or printed.

Findings

The Balance of Narrative and Anatomy: Successful art direction requires a harmonious balance between aesthetic appeal and future narrative expansion. Characters must be designed with sufficient creative breathing room for storytelling.

Depth in Sustainable Design: Eco-friendly merchandise design should transcend superficial "green" motifs. By merging an economic model—the three-sector circulation of households, firms, and the government—with the classic recycling emblem, the product is endowed with deeper societal value and academic substance.

Agility in Design Reconfiguration: When a design must be simplified due to dimensional constraints, the original intricate concepts do not need to be discarded. Instead, through flexible asset reconfiguration, they can be strategically reassigned to a larger, more prominent surface—such as the box packaging—thereby maximising the value and impact of the design work.