MAJOR PROJECT 1
4/01/2025 - 26/03/2025
Week 01 - Week 7
Adrianna Sofea Mohd Fauzi (0350661)
Bachelor of Design (Hons) in Creative Media
Major Project 1
3. Final Outcome
Task 1: Proposal Development
Timeframe: Week 1 - Week 3
Week 1: Topic Exploration and Research
This project required a group of four members, and I was teamed up with Amirah, Amelia, and Carol. During our brainstorming session, everyone pitched one idea, and we discussed which one we felt the most drawn to. We shared our ideas and explanations through Canva Whiteboard before consulting with our assigned lecturer, Ms. Vityaa.
Figure 1.1 Idea Brainstorm in Canva Whiteboard
Figure 1.2 Case Studies and Research
Week 2: Idea Development
After multiple group discussions and consultations with our lecturer, we ended up making a last-minute pitch for a blind box figurine concept, an idea initially proposed by Carol. Our lecturer encouraged us to explore this direction instead, as it would be a more fun and engaging way to experiment with our graphic design skills. After further discussion, we all found common ground and agreed to move forward with it.
Figure 1.3 Brainstorm Potential Brands and Blind Boxes
Our group then started brainstorming how the figurine would look and which brand we wanted to collaborate with. Initially, we chose Samyang, the Korean instant noodle brand, imagining figurines inspired by different noodle flavors like cheese, spicy, and vegetable. This concept could add value to the brand, especially since blind boxes have been a rising trend, particularly in Asia.
After a few discussions and votes, we decided to fully develop the blind box series idea, aiming to make it as engaging and exciting as possible. To expand the concept, I proposed creating a product launch for Mamee, a well-known Malaysian snack brand with a strong nostalgic and fun identity. Despite its popularity, Mamee hasn’t yet tapped into the booming blind box collectible market, which has been growing worldwide.
Figure 1.4 Touchpoints and Potential Deliverables
Through my research on blind boxes, I realized that Malaysia either lacks a strong presence in this market or has very few options available. That’s when we thought of Mamee, a Malaysian snack brand and began researching its background, growth, and overall brand identity to see if it aligned with our vision.
We saw an opportunity to create hype around figurines while simultaneously celebrating Malaysian culture. Our focus is on introducing traditional Malaysian snacks to Gen Alpha and Gen Z, as these generations are becoming less familiar with the nostalgic treats that were once widely loved. By incorporating these snacks into a collectible blind box series, we hope to reignite interest in them and bridge the gap between past and present.
Figure 1.5 Ideas and Development
Week 3: The Mamee Blind Box (Product Launching) Proposal
Everyone was assigned specific tasks: Carol handled the market analysis, Amirah refined our problem statement and target audience, and I was in charge of researching Mamee’s background and defining the purpose of our project. Later, the three of us worked together on the touchpoints and deliverables since Amelia was unable to attend the presentation that day.
Here are my findings along with some additional notes I took during my research:
What is a Mystery Box?
A mystery box, also known as a blind box or lucky bag, is a container filled with an assortment of items that remain unknown to the buyer until it is opened. Consumers pay a fixed price without knowing the exact contents, making the unboxing experience both thrilling and unpredictable. The blind box concept extends to collectible dolls, figures, and other merchandise inspired by animation, films, and pop culture. It is classified as a probability product, where the element of uncertainty plays a crucial role in its appeal. The mystery box phenomenon has surged in popularity worldwide, expanding across major consumer markets in North America, Europe, and the Asia-Pacific region, with a particularly strong presence in China. This global rise is driven by the excitement and curiosity that mystery boxes evoke, making them a compelling trend in modern consumer culture.
Origins of the Blind Box Concept
The blind box trend traces back to Japan in the 1980s with the introduction of Fukubukuro, or “lucky bags.” These were mystery bags sold in department stores during the New Year, allowing customers to purchase a selection of unknown items at a discounted price. The concept was initially designed to create a fun and exciting shopping experience while helping retailers clear excess stock. Over time, this practice evolved into today’s collectible blind box culture, gaining widespread popularity beyond Japan.
The Psychological Appeal of Uncertainty
Research by Li, Li, and Wang (2022) highlights how uncertainty in platform rewards—whether through risk (known probabilities) or ambiguity (unknown probabilities) can heighten excitement, curiosity, and engagement. This aligns with behavioral economics and gamification strategies, where the element of chance drives repeated participation. The psychological impact of blind boxes can be profound, as consumers experience a rollercoaster of emotions while eliminating uncertainty.
Before unboxing, consumers feel anticipation and nervousness about what they might receive.
During unboxing, emotions range from excitement and joy (if they get their desired item) to disappointment and regret (if they don’t).
This emotional cycle often fuels repeat purchases, as buyers chase their preferred items or attempt to complete a collection.
Moreover, the curiosity-driven psychology and gambler’s mentality play significant roles in blind box purchases. The sense of limited availability, exclusivity, and chance encourages consumers to keep buying in hopes of obtaining rare or desirable items, much like the mechanics seen in gaming and gambling environments.
Marketing Strategies in the Blind Box Trend
Marketing strategies are critical in shaping consumer perception and enhancing the appeal of blind boxes. Research shows that marketing stimulation combined with perceived value significantly influences purchasing behavior. As graphic designers and marketers, we can leverage this by creating enticing, mysterious, and visually engaging campaigns that amplify consumer excitement. Effective blind box marketing includes:
Visually appealing packaging that enhances the sensory experience.
Exclusive or limited-edition releases to create urgency.
Strategic storytelling and branding that builds emotional connections.
Social media engagement that encourages unboxing videos and community interaction.
By tapping into the psychological and emotional drivers of uncertainty, brands can make blind boxes not just a product but an experience, one that captivates consumers and keeps them coming back for more.
Auto-Updated Progression Slide:
Week 4: Target Audience and Ideations
This week, we received feedback from our lecturer, who mentioned that our idea lacked structure and wasn’t solid enough to move forward. It was disappointing and disheartening to hear, as I realized I needed to conduct more in-depth research on blind boxes, given my unfamiliarity with the concept. However, after discussing with the group, we decided to drop the idea of including a board game inside the blind box.
Instead, I proposed shifting our focus solely to the blind box itself and exploring ways to make the packaging more engaging and interactive. This approach aligns better with our strengths, as we have a clearer understanding of how to enhance packaging functionality.
Later that day, I outlined the deliverables required by the end of Week 7, and everyone selected tasks they wanted to work on. While these won’t be final designs, we agreed that starting early would allow us to refine and improve them in the following week.
To-Do :- Miko the Snacker
- Sub-Branding (ADRIANNA)
- 6 Character design of Miko (AMIRAH)
- Share potential sketches (*EVERYONE*)
- Setting of the house/kitchen etc (AMIRAH)
- 3 Poster design (AMELIA + ADRIANNA)
- 6 Photocard design (3 CAROL + 3 ADRIANNA
- Banner design (AMELIA)
fo- 6 Snacks design (AMIRAH)
- Guide Pamphlet (CAROL)
We designed a survey to gather more insightful data.
After revisiting our slides multiple times, we decided to develop this character figure into its own brand, but under the Mamee brand. This shift felt like a more straightforward direction, as our initial concept had many complexities and challenges.
To refine this idea further, I began applying the design thinking process.
Fig 1.6 Empathy stage of figurine product
I began by asking questions and brainstorming the overall direction, using my own words and understanding to build a solid foundation. Initially, I was uncertain about pursuing a blind box product launch as I am unfamiliar with it. However, to help myself grasp its purpose more clearly, I started creating a mind map, as shown in Fig 1.4.
Figure 1.8 Poll to choose a character name
Figure 1.9 Empathy stage of Miko
The first step, Define, focused on brainstorming a name for the character. We then began exploring the question: Who is Miko? In this early stage of character development, it is essential to establish a strong foundation by defining the character’s identity and background. After further discussion with the group, the target audience changed to Gen Z and Gen Alpha.
Figure 2.1 Define stage of Miko
Figure 2.2 Initial packaging concept
Figure 2.3 Improved packaging concept
Figure 2.4 Compilation of sketches
Figure 2.5 Compilation of sketches
Figure 2.6 Compilation of sketches
Figure 2.7 Compilation of sketches
Chosen brand to analyse from: Smiski
Figure 2.8
Smiski has become a must-have among Gen Z, particularly females, all due to its unique approach to design and audience engagement. While at first glance, it may seem like a simple figurine, the brand's thoughtful visual language and strategic design choices are what make it a global sensation.
From a design perspective, Smiski embraces a minimalist aesthetic with a soft pastel color palette, accented by vibrant tones that create visual harmony. As seen in Fig. 2.2, the Smiski Hippers Series packaging features a bold contrast of yellow and green, effectively highlighting the word "Hippers". This series is designed to allow the figurine to attach itself to various objects, such as smartphone, toothbrushes, and bookshelves, enhancing its interactive appeal. The typography follows a playful yet structured style, and maintaining clarity and hierarchy in text placement. This ensures that the character illustration remains the focal point, without any distractions. In addition, the rarity indicator on the packaging, that shows limited edition releases, plays a significant role in driving consumer interest and urgency.
When it comes to packaging structure, Smiski opts for a hexagonal box, a practical choice that makes it easier for customers to grab, carry, and store compared to standard bulky blind box packaging. This compact and ergonomic design reduces hesitation in purchasing, as it feels more convenient and portable. The packaging features a three-flap opening system, where the overlapping flaps create a secure seal while remaining simple to open. This balance between security and ease of access enhances the overall unboxing experience, reinforcing Smiski's thoughtful approach to design.
Figure 2.9
Figure 3.1
Figure 3.3 Moodboard
We are going for a theme that combines elements of cultural heritage, nostalgia, and playful storytelling to create a visually engaging and interactive collectible experience. By incorporating cute and feminine aesthetics with traditional motifs, the design aims to evoke a sense of familiarity and warmth while maintaining a fun and modern appeal that invites users to explore and connect with the character and its story.
Week 5:
Don’t just focus on creating this product to cater to Gen Z only, think about the tourists and how they can use our product as souvenir from Malaysia
The name “Miko” for the character does not represent Malaysia but more towards a Japanese sound. Find other names.
The characteristics and background of the character is good but character needs more improvement
Presented the branding and finalised the art style/moodboard and the logo does not resemble a blind box company but it looks like an edible snack of jelly
Look into existing brands and understand what do they have that we don’t
Summary of Changes from the Previous Week:
- The character design has been reworked to look more local, shifting the focus towards Peranakan cultural influence.
- The character will no longer wear any snack costume or be portrayed as a mascot. Instead, the character will stand as its own identity.
- Snacks will be designed as accessories that come together with the character, serving as complementary items rather than part of the character's outfit or identity.
- The background story and concept from Miko will remain, but now with a different name and look for the character and with only the character visuals refined to reflect the new direction.
- The final character will not wear or represent any snack, costume, or Mamee mascot design — fully separating the figure as its own standalone entity.
Work Schedule
Week 6: Branding Process
Updated Research and Concept:
Figure 3.7
Figure 3.8
Figure 4.3Visual Research of Font Styles
Figure 4.9 Color Exploration
Figure 5.1
Figure 5.3
Figure 5.5 Figurine observation
Figure 5.6 Snacks and Accessories Ideation
Finalised Snacks
Figure 5.7 Snacks
Figure 5.8 Snacks
Finalised Accessories
Figure 5.9 Accessories
Figure 6.1 Accessories
Figure 6.2 Amirah's Playset Ideation
Figure 6.3/6.4/6.5 Playset Draft
Figure 6.6/6.7/6.8/6.9 Playset Kopitiam
Figure 7.1/7.2/7.3/7.4 Playset Home Interior
Figure 7.5/7.6/7.7/7.8 Playset Snack Store
Figure 7.9 Adrianna and Amirah's Character Process
Finalised Characters
Figure 8.2 Carol's Digitisation Character Designs
After our consultation, Miss Anis advised us to remove Mamee from the concept and create an entirely new brand to act as the parent brand for Nyonya Bulan. This shift required us to rethink our overall branding direction and conduct further research to establish a strong foundation for the new parent brand. We needed to explore potential brand names, visual identity, and how this parent brand could align with the cultural elements of Nyonya Bulan while allowing room for future series under the same umbrella. Given the limited time, we decided to move forward with this new direction as it made more sense for the concept and allowed us greater creative freedom.
Figure 8.3 Poll for Parent-Brand
Figure 8.4 Packaging Details
Figure 8.5 Montigo large box
To test the sizing, I finalized the outer packaging at 15.5 cm (H) x 10 cm (W), while the pull-out cardboard insert was set at 14.5 cm x 9 cm—1 cm smaller for smooth sliding. The pull-out insert is designed with an internal divider to organize the playset components. On top of this divider, the character figure is placed securely.
When the consumer opens the first flap of the outer packaging, they will see the first divider functioning as the pull-out mechanism. Once removed, the character rests on the second divider, while the playset is neatly stored beneath it. This layered structure not only enhances the unboxing experience but also ensures the product is well-protected and organized.
Figure 8.8 Exhibition Idea
I also began curating the booth layout for our exhibition, visualizing the overall space and planning where each collateral piece would be strategically placed to create a cohesive and engaging presentation.
.jpeg)
.jpeg)
.jpeg)
Figure 1 to 5 (from left to right)
Visual Reference
Figure 8.9/9.1/9.2 Sketches for front cover
Figure 9.3 First draft
Figure 9.4 Color exploration
Figure 9.5 Interior of Box
Pull-Out Board Draft
Figure 9.6 Pull-out board
Our approach to the packaging prioritizes both visual engagement and functional interactivity, ensuring the box serves as more than just a normal box, it becomes part of the user experience and storytelling journey.
The concept is to fully utilize every surface and space of the packaging, encouraging consumers to keep and interact with it rather than discard it. By designing both the exterior and interior graphics, we aim to surprise the user with thoughtful details that enhance the narrative and cultural elements of the product.
Incorporating guided text and instructions throughout the unboxing process, the consumer is greeted upon opening the first flap, giving a warm and playful tone. The first divider reveals a Peranakan pattern, reinforcing the cultural essence. Further interaction prompts the user to open the second divider, where they’re instructed to pull out the board, unveiling the character, playset, snack, and accessories.
This layered unboxing sequence is designed to immerse the user, turning a simple purchase into an experience — where storytelling, culture, and interactivity converge through intentional graphic design choices. The result is a packaging that is memorable, collectible, and enjoyable, a form of product and play.
First Design with an Improved Front Cover
Interior Design
Pull-out Board
Draft Poster
Final Poster
Week 7: Finalisation and Deliverables
Paperbag
Social Media Presence (Instagram)
Photocard
Mockups in PDF
Gantt Chart
Feedback
Week 1:
- Look into current trends and idea that has a wide research and not something completely new
- Discuss and brainstorm gathered research and idea with the team
Week 2:
Presented 4 ideas and found that the other 3 are too simple to conduct
Carol’s idea to do a blind box was chosen for our topic
Needed further research on the blind box and ensure our idea was supported with a good structure and understanding
Choosing to revamp the Mamee mascot was approved
Delegated each person’s task and gather the relevant information
Week 3:
- After discussion with the team, the idea to include the board game idea to give a more uniqueness to the product did not seem well-structured enough
- Presentation was thorough but the idea is still not in a stable direction to proceed through
- Identify what would make consumers want to purchase a Mamee figure
- Consider how players retrieve the same figure when making a purchase
- Clearly outline what is included in the box
- Study on character development and how we want to make the Mamee mascot appearance to look cohesive and align to Mamee’s branding
- Start structuring the survey
Week 4:
- We’ve decided to shift the direction from simply revamping the existing mascot to creating a new character unlock under Mamee’s new product line, a blind box series. This way it not only allows us to showcase a wider range of our graphic design skills but also better aligns with the assignment’s requirements, offering a more impactful and comprehensive solution.
- Needed a new problem statement and project objectives
Week 5:
Don’t just focus on creating this product to cater to Gen Z only, think about the tourists and how they can use our product as souvenir from Malaysia
The name “Miko” for the character does not represent Malaysia but more towards a Japanese sound. Find other names.
The characteristics and background of the character is good but character needs more improvement
Presented the branding and finalised the art style/moodboard and the logo does not resemble a blind box company but it looks like an edible snack of jelly
Look into existing brands and understand what do they have that we don’t
Look into the Melaka cultural art history and do more further research in local brands that brands themselves in a very local feel
Changed the idea to include a playset in the box and remove the gameplay as it’s too complicated
Redo branding
To-be done for next week: 6 Character design, 6 Snacks design, Branding, Photocards, and Packaging
Week 6:
The name Nyonya Bulan
Remove the brand without the reference from Mamee
Create a new parent brand to house the Nyonya Bulan series, with the flexibility to expand and introduce more series in the next semester
Be consistent with the design illustration and color scheme
Make the playset bg more peranakan-like
Poster needs to be fixed and attractive
Revise and update the designs
Complete the deliverables
Week 7:
The name “Cerita Kita” for the parent-brand needs to be changed
The presentation flow is clear and easy to follow, but the parent brand still lacks a strong branding identity and presence.
The character design is well-developed and detailed.
The playset’s interchangeable background mechanism could be improved to ensure the colors complement or contrast each other effectively for better visual harmony.
The poster design is visually appealing with a well-chosen color scheme.
The logo design process is clearly shown and explained
Reflection
This project has been a truly experimental journey, filled with constant revisions and changes over the past seven weeks. Our team continuously adapted and reshaped our ideas when initial concepts didn’t work, forcing us into a cycle of trial, error, and rethinking. As someone unfamiliar with blind boxes, this project pushed me far out of my comfort zone, beyond just online research. I reached out to friends, cousins, and collectors to understand the fandom, what excites them, and what drives their purchasing decisions. I realized that designing a blind box collectible is not just about looks, but about creating emotional value and tapping into a collector’s mindset, which made the process challenging but insightful.
However, the biggest struggle was working as a group. There was often a lack of active participation, with ideas being agreed on without much discussion or creative input, limiting the potential to explore or experiment. I had hoped for a team dynamic where everyone could throw out ideas, no matter how wild, but that collaborative spark was missing. Communication was also a challenge despite constant reminders, responses were delayed or absent, and most tasks had to be assigned rather than volunteered. It was disheartening to see effort only surfacing towards the end. Still, this project taught me the importance of adaptability, understanding niche markets, and the reality of working in a team, not just in design but in communication, accountability, and creative contribution.
It has been a learning curve to create a Peranakan-inspired and heritage-inspired blind box that has opened my eyes to how important it is to design not just a product, but an entire unboxing experience. Unlike normal packaging, a blind box is about interaction, surprise, and emotional engagement. It made me realize that each surface, internal and external is part of storytelling. Through this experience, I learned that it is crucial to design not just to protect the product but to generate curiosity and make consumers keep the box as part of a set.
Learning about rich Peranakan and Melaka heritage introduced me to traditional craftwork, rich colors and symbolic motifs. Elements like detailed floral motifs, Nyonya kebaya embroidery and heritage shophouse tiles became rich visual references that steered our direction. Knowing what these elements meant culturally influenced our choices, right down to choosing colors like turquoise and yellow for what they meant, to remaining true to character design without modernising and losing it.
It was this project that taught me that great design is not just about looks, it is about functionality and storytelling and sensitivity to culture all coming into play. I learned to look at design differently in relation to how it can make heritage accessible and interesting to future generations, especially with regard to collectibles. It made me question every part of the experience and illustrated that design can help people connect with stories, traditions, and feelings on a different level.
To be honest, I know I could have done better, but I don’t regret taking up the challenge of this topic. This project pushed me beyond just aiming for good grades, it made me appreciate the effort, time, and constant thinking that goes into conceptualizing a strong design in a short amount of time, constantly. I’ve learned that the real value comes from the process itself, the research, trial and error, and the creative decisions that shape the final outcome. It’s a shift in mindset for me, and I’m grateful for the experience because it made me realize that pushing through challenges like this is what truly helps me grow as a designer.
Comments
Post a Comment