Minor Project - Final Compilation Task 1-3
21/04/2025 - ( Week 1 - Week 14 )
Ho Winnie / 0364866
Minor Project / Bachelor's of Design Honors In Creative Media
Final Compilation Task 1-3
1. Task 1 : Proposal Presentation
WarisanXR is an immersive mixed reality experience designed to bring Malaysia’s rich cultural heritage to life using holograms and AR technology. It combines traditional culture with innovative digital elements, allowing visitors to interact with heritage performances, crafts, and storytelling in a dynamic and engaging way.
The project aims to:
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Capture and preserve Malaysian heritage through advanced 3D scanning and digital archiving.
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Provide interactive AR experiences that let users explore cultural performances and artifacts.
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Expand accessibility to cultural experiences for both local and international audiences.
By integrating physical environments with AR holograms, WarisanXR enhances visitor engagement, strengthens national pride, and positions Malaysia as a pioneer in digital heritage innovation.
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| Fig 1.1 Client Project Briefing |
Empathy Stage
Contextual Research :
In Week 2 of our WarisanXR project, our team concentrated on carrying out in-depth contextual research to gain a deeper understanding of the project scope and the requirements for designing meaningful and impactful mixed reality (MR) experiences. We explored existing MR exhibitions and case studies to identify effective interaction methods, storytelling approaches, and ways to blend physical and digital elements seamlessly.
During this week, we also prepared a comprehensive set of questions for our client, Justin from TRUEXR, to clarify the project goals, technical constraints, and user expectations. These questions were aimed at aligning our ideas with the client’s vision and ensuring that our proposed solutions would be practical, engaging, and feasible to implement.
To ensure efficiency and prevent overlapping efforts, we divided the contextual research topics among our team members as follows:
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Winnie – Researched the company and project background (TrueXR & WarisanXR), explored the technologies being used, identified key cultural groups and stories, and prepared interview questions for the client.
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Guo Ying – Investigated immersive features and interaction models in XR, studied case studies of MR/AR museum experiences, and examined cultural elements (Part 1).
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Melvin – Looked into the current landscape of MR/AR technologies, analyzed emerging global AR trends, and explored the cultural symbolism incorporated into exhibition layouts.
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Kar Yee – Focused on voiceovers, guided story paths, visual and spatial design strategies, as well as insights into visitor behaviors.
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Yanny – Researched additional cultural elements (Part 2), identified defining features of engaging MR experiences, and studied concepts for AR photobooths.
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Zhenxing – Conducted a competitive analysis of AR/VR heritage exhibitions, reviewed 3D modeling requirements, and explored optimization for XREAL and mobile AR platforms.
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Jia Jia – Examined the role of animation, motion design techniques for holographic performances, and methods for animating traditional cultural elements.
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| Fig 1.2 Contextual Research |
To achieve this, we decided to visit Muzium Negara in person. Our goal was to engage directly with real visitors, observe their behaviors, and conduct short interviews to better understand their motivations, expectations, and overall openness to using AR technologies as a means of learning about culture and heritage. By speaking with visitors on-site, we were able to gather valuable qualitative feedback, such as their comfort level with technology, interest in interactive experiences, and preferences for cultural learning.
This field research not only provided us with authentic insights into our target audience but also helped validate whether our proposed AR-based solution would resonate with museum-goers of different backgrounds and age groups. These findings played a crucial role in shaping our user personas and ensuring that our design approach remained user-centered and grounded in real-world needs.
I developed a set of interview questions tailored to three key audience groups: foreign visitors, local Malaysians, and students.
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For foreign visitors, the questions focused on their interest in Malaysian culture, their previous experiences with AR or interactive exhibitions, and what would make a cultural experience memorable for them.
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For local Malaysians, the questions explored their connection to local heritage, their willingness to engage with new technologies in museums, and how they felt AR could enhance their cultural learning.
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For students, the questions were designed to understand their learning preferences, openness to gamified or interactive experiences, and how AR could make cultural education more engaging and relatable.
These interviews provided us with valuable first-hand insights from different perspectives. The tourists shared their curiosity about Malaysian culture and what would make an AR experience memorable for them. The student offered feedback on how interactive technology could enhance learning and engagement. Meanwhile, the local Malaysian shared their thoughts on preserving heritage and how AR could encourage more people to appreciate cultural traditions.
Even with this small sample size, the responses helped validate some of our initial assumptions while also revealing new considerations for designing a user-centered AR experience.
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| Fig 1.2 Pictures of Interview & Group Photo |
Combining the insights gathered from both our on-site interviews and the online demographic data, we began crafting detailed user personas to guide our design process. From this research, we identified three primary personas that best represent our target audience:
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Foreign Tourist – Visitors from other countries who are curious about Malaysian culture and seek immersive, memorable experiences that go beyond traditional museum displays.
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Local Malaysian – Residents who value cultural preservation and may be interested in experiencing their heritage in new, interactive ways.
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Student – Young learners who are open to gamified, technology-driven methods of cultural education and enjoy interactive approaches to learning.
These personas serve as a foundation for understanding user needs, goals, and challenges, ensuring that our design decisions remain human-centered and relevant to the intended audience.
In Week 4, as part of our ongoing research, we were tasked with creating a survey form to gain deeper insights into our target audience’s preferences, behaviors, and expectations. The survey was structured into seven sections, each designed to capture different aspects of user needs, from their familiarity with AR technology to their interest in cultural experiences and preferred interaction methods.
Before finalizing the survey, we consulted Mr. Mike to gather feedback on its structure and content. He provided valuable comments on improving the clarity and flow of the questions. Based on his suggestions, we refined the survey to ensure that it was concise, easy to understand, and capable of producing meaningful data for our project.
This refined survey became a key tool for validating our assumptions and strengthening the foundation of our human-centered design approach.
Our survey was open for response collection over a period of approximately two weeks, concluding in Week 6. By the end of the collection period, we had successfully gathered 72 responses, providing us with a diverse range of perspectives from different audience segments.
In Week 6, we began analyzing the collected data to identify key patterns, preferences, and pain points related to cultural learning and AR experiences. This analysis helped us validate some of our earlier insights from the interviews while also uncovering new findings that further shaped our understanding of the target audience. These results played an important role in refining our user personas and informing the direction of our proposed design solutions.
I did a task breakdown into 2 groups of people - one which analyse our survey insights and the second is to analyse the insights from our interview back at national mueseum.
Survey Analysis Task Breakdown :
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Section 1 – Demographics (Yanny)
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Looks at respondents’ age, nationality, and background to understand who the potential audience is.
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Helps identify key user groups like tourists, locals, and students.
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Section 2 – Comfort with AR Technology (Yanny)
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Measures how familiar respondents are with using AR/VR technologies.
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Helps determine if users need guidance or onboarding features in the experience.
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Section 3 – AR Navigation & Interaction Preferences (Kar Yee)
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Explores which interaction methods (tap, swipe, voice, gestures) users prefer.
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Informs the design of user-friendly MR interactions for WarisanXR.
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Section 4 – User Experience with AR (Guo Ying)
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Examines respondents’ past experiences with AR apps or exhibitions.
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Highlights what they enjoyed, disliked, or found memorable, guiding improvements for WarisanXR.
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Section 5 – Public Interest in Royal Malay Heritage (Winnie)
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Focuses on audience interest in learning about Royal Malay culture.
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Helps decide which cultural elements to emphasize in the exhibition content.
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Section 6 – Cultural Heritage Preference at National Museum (Winnie)
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Analyzes which heritage topics or cultural groups visitors are most curious about.
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Provides direction for prioritizing AR content and storylines.
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| Fig 1.3 Survey Analysis |
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Jia Jia – Summarizes the student interview, highlighting learning preferences and tech openness.
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Melvin – Shares insights from the local Malaysian visitor, focusing on cultural pride and expectations for AR.
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Zhenxing – Breaks down the two tourist interviews, focusing on cultural curiosity, memorable experiences, and factors that attract international visitors.
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| Fig 1.4 Interview Analysis |
User Empathy Map and Journey Map :
Alongside the empathy maps, we also developed a complete user journey that outlines the step-by-step experience of each persona when interacting with WarisanXR. This journey maps out key stages – from discovering the exhibition to using AR glasses and engaging with cultural performances – while identifying opportunities to create meaningful and enjoyable touchpoints throughout their visit.
Together, the empathy maps and user journey served as essential tools in guiding a human-centered design approach, helping us ensure that WarisanXR provides a seamless, immersive, and memorable experience for all target users.
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| Fig 1.5 Foreigner Empathy Map |
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| Fig 1.6 Student Empathy Map |
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| Fig 1.7 Local Empathy Map |
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| Fig 1.8 Customer Journey Map |
Between Weeks 6 and 8, our team progressed into the Define Stage, where we began synthesizing all the data collected from interviews and survey analysis. Each team member was tasked with writing down their top five key findings based on the insights they had gathered.
Once all the findings were compiled, I took the lead in clustering similar ideas into categories, ensuring that overlapping points were grouped together. Through this process, we were able to distill the information into five overarching key themes that best represented the needs, motivations, and pain points of our target users.
From these themes, we crafted five clear insight statements, which served as reference points for our design direction. Building upon these insights, we then created three “How Might We” (HMW) questions, which were intentionally framed to open up opportunities for innovative design solutions and guide our ideation process.
Finally, we formulated a problem statement in the format of user + need + insight, which acted as the foundation for our entire project. This statement became a crucial reference throughout our design journey, ensuring that every concept, idea, and feature we proposed remained aligned with the real needs of our users.
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| Fig 1.9 Insights Discovery Section |
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| Fig 2.0 Problem Statement Section |
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| Fig 2.1 How Might We Section |
Site Visit : Istana Satu & Trying Out XREAL AR Glasses
During Week 8, we visited Istana Satu, the proposed exhibition location for WarisanXR, to better understand the site and identify potential design considerations. Through on-site observations, we recorded what we saw and interpreted their implications for the project.
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Ticketing booth is at the entrance of the National Museum
→ Clear directional signage is needed to guide visitors from the booth to Istana Satu. -
Istana Satu is located beside the main building and is not very noticeable
→ The exhibit requires better visibility, possibly through banners or signboards to attract visitors. -
Lighting inside Istana Satu is quite dim
→ Additional lighting or AR-based illumination is needed to enhance both visibility and atmosphere. -
Space inside Istana Satu is limited
→ The exhibition design must be compact and strategically planned to prevent crowding. -
Few directional signs point to Istana Satu
→ More wayfinding elements (maps, arrows, icons) are necessary to improve navigation. -
Visitors tend to walk through quickly without much engagement
→ Interactive elements should be incorporated to encourage visitors to stay longer and actively explore.
These insights provided us with valuable considerations for improving visibility, navigation, engagement, and overall visitor experience, which we later incorporated into our design solutions for WarisanXR.
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| Fig 2.2 Istana Satu |
During the visit, we also had the opportunity to try out the XREAL glasses, which gave us a clearer understanding of how our AR content would be experienced by visitors. This hands-on trial helped us better visualize interaction possibilities and technical considerations for the exhibition.
We also met with Justin from TRUEXR, where we asked him several questions about the direction and expectations for WarisanXR. Through this discussion, Justin shared that he preferred having a variety of cultural performances to showcase Malaysia’s rich heritage. He also mentioned that the exhibition can be aligned with Visit Malaysia 2026, making it attractive to both local and international audiences.
His feedback provided us with valuable input for brainstorming our overall theme and content direction, ensuring that our proposed ideas would be both engaging and relevant to the project’s vision.
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| Fig 2.3 Trying Out XREAL Glass & Talking To Mr Justin |
Ideation Stage :
From Week 8 to Week 9, we entered the Ideation Stage, where our primary focus was on generating creative concepts and refining them into a cohesive proposal. During this stage, we worked collaboratively to transform our research findings and insights into actionable design ideas for WarisanXR.
By the end of Week 10, we aimed to deliver a finalized presentation and proposal for our client. I took the lead in finalizing the exhibition theme and overall concept direction, ensuring it aligned with both our research insights and Justin’s feedback from TRUEXR.
Once the theme was finalized, we divided the work of creating mockup drawings for each cultural room, assigning specific art direction tasks to different team members. This approach ensured that each room’s design remained consistent with the overall concept while allowing individual creativity to shape the details of the exhibition experience.
Here’s a clear breakdown of everyone’s responsibilities during the initial ideation stage:
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Malay Room: Winnie, Guo Ying
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Chinese Room: Winnie, Yanny
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Indigenous Room: Kar Yee, Melvin
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Indian Room: Jia Jia, Zhen Xing
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Unity Concept: Winnie
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Kar Yee
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Melvin, Zhen Xing
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Guo Ying
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Zhen Xing
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Winnie, Yanny
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Winnie, Yanny, Guo Ying
This structure ensured that tasks were divided efficiently, with each member contributing to areas matching their strengths and earlier research focus.
Content Design :
This visual showcases the overall content design for WarisanXR, structured into five interactive stages, each representing a different cultural theme:
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Format: Interactive stage revival with tap and inspect gestures.
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Content: Focuses on traditional Malay performances such as Wayang Kulit, Silat, and Joget. Visitors can tap on broken props to revive them and learn cultural insights.
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Format: Interactive stage revival with tap and inspect gestures.
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Content: Highlights Chinese opera, fan dance, and lion dance, where users restore props like masks or fans and trigger short performances.
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Format: Interactive ritual awakening with tap and rotate gestures.
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Content: Features Bharatanatyam, Odissi, and Kolam art, letting visitors interact with props such as anklets or headpieces to unlock cultural animations.
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Format: Discoverable 3D exploration with cultural object restoration.
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Content: Represents Magunatip, Datun Julud, and Ngajat dances from East Malaysia and Indigenous groups. Users revive props and learn about their significance.
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Format: Projection mapping combined with holographic effects.
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Content: Serves as the finale, celebrating Malaysia’s cultural diversity with synchronized performances, fireworks, and a collective cultural showcase.
This design ensures that each cultural group has dedicated interactive elements, while the Unity Stage ties all cultures together, reinforcing the theme of shared heritage and national pride.
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| Fig 2.4 Content Design |
Navigation Idea :
The final navigation concept for WarisanXR combines Pak Citra as a cultural guide with interactive light trails and badge collection to create an engaging and intuitive experience.
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Pak Citra as Guide: A mythical character who appears in AR, guiding visitors with encouraging lines and gestures. This makes navigation feel personal and story-driven.
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Badge Collection: Each time visitors complete a cultural showroom, they earn a badge that represents that culture.
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Responsive Cues: As users collect badges and progress, visual and audio cues—such as glowing lights, ribbons, and cultural sound effects (e.g., drums, bells, or chimes)—are triggered.
This system keeps visitors immersed in cultural storytelling while helping them navigate seamlessly through each stage of the exhibition.
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| Fig 2.5 Navigation |
Sketches Of Each Stage :
For the sketches of each stage, we created two variations for every cultural room:
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Broken Elements Stage – Depicting the initial state of the stage with faded or damaged cultural elements to emphasize the idea of heritage that needs to be revived.
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Revived Stage – Showing the vibrant, restored version after interactions, with props and performances coming to life.
Alongside each sketch, we also provided context and descriptions to explain the cultural significance of the elements, the type of interactions involved (e.g., tap, rotate, inspect gestures), and how each revived stage would enhance visitor engagement and storytelling.
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| Fig 2.6 Malay Stage |
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| Fig 2.7 Chinese Stage |
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| Fig 2.8 Indian Stage |
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| Fig 2.9 Indigenous Stage |
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| Fig 3.0 Unity Stage |
Floorplan & Crowd Control :
This visual shows the initial floorplan ideation for WarisanXR, where we explored different layouts to manage visitor flow and maximize the experience within limited space.
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Plan A – No Cross
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Visitors follow a single, one-way path through each cultural room before reaching the final photobooth area.
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Designed for continuous movement with minimal backtracking.
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Plan B – Cross Layout
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Two variations with a cross-shaped layout, allowing groups to split and explore different rooms simultaneously before meeting at the final room.
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Suitable for smaller group sessions to prevent congestion.
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Plan C – Double Lane Traffic
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Two groups move in parallel lanes, each starting from different cultural rooms but converging at the final room.
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Ensures efficient crowd management, reducing bottlenecks and waiting times.
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Color-coded cultural rooms (Malay, Chinese, Indian, and Sabah & Sarawak/Indigenous).
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Partitions and walls to control flow and provide dedicated space for each experience.
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Final Room & Photobooth as a shared closing area for all visitors.
This stage of ideation allowed us to experiment with different crowd flow strategies, balancing engagement, accessibility, and space constraints while preparing for more detailed floorplan refinement.
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| Fig 3.1 Floorplan |
Art Direction - Colors, Moodboard , Typography :
The art direction for WarisanXR focuses on blending traditional aesthetics with modern digital elements to create a multisensory AR experience that embodies Malaysia’s cultural diversity. Each cultural segment—Malay, Chinese, Indian, and Indigenous—is given distinct visual traits while maintaining a cohesive overall style. The creative concept emphasizes both celebration and reverence, ensuring visitors feel a sense of pride and joy as they explore at their own pace.
A carefully curated color palette inspired by cultural motifs uses warm and vibrant tones such as rose pink, deep crimson, sky teal, forest green, and mahogany brown to evoke richness and authenticity. The typography combines Yeseva One for titles—reflecting traditional, handcrafted aesthetics—and Merriweather Sans for body text to ensure modern readability. This combination bridges heritage with a clean, digital-friendly look.
To reinforce cultural identity, visual motifs such as the Chinese dragon, Malay bunga bintang, Indian mandala, and Indigenous Aso (Hornbill-Dragon) are incorporated into the design. Each cultural stage also features unique trail elements—like red silk ribbons, golden songket batik, gota patti lace, and Iban pua kumbu—that guide users through the experience. The moodboard references immersive projection environments and cultural performances, highlighting how traditional patterns can be enhanced with AR technology to create a unified yet diverse storytelling journey.
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| Fig 3.2 Art Direction |
After completing our mid-progress check, we moved on to Ideation Stage Part 2, where our focus shifted toward refining and consolidating all the ideas generated earlier. During this phase, we carefully reviewed the feedback from the mid-progress review and made improvements to ensure our concepts were practical, cohesive, and aligned with the client’s expectations.
Our primary goal in this stage was to finalize the entire proposal, which included confirming the exhibition theme, finalizing the navigation and interaction concepts, polishing the mockup drawings, and solidifying the floorplan and art direction. We also ensured that all elements—content design, user journey, and visual style—were consistent with our research insights and user needs. Below is our task breakdown :
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Visualize step-by-step user flows for all rooms + Unity Room.
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Include key gestures like tap, pinch/rotate, swipe, and photobooth exit flow.
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PIC: Winnie (Non-AR Glass), Melvin (AR Glasses)
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Design overlays for info panels, badge progress, prompts, and character guidance.
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Ensure minimalism for AR constraints.
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PIC: Winnie
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Create one high-fidelity visual of a selected cultural room.
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Include stage setting, holographic effects, and revived props.
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PIC: Yanny, Guo Ying, Winnie
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Map the full user experience from entry to AR photobooth.
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Include visitor path flow, QR zones, and immersive zones.
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PIC: Guo Ying, Melvin, Kar Yee
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Design culturally inspired yet futuristic-looking QR stands.
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Ensure accessibility and proper placement.
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PIC: Zhen Xing
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Visualize Pak Citra’s appearance with guidance between rooms.
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Key navigation sketch.
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PIC: Melvin, Winnie
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Compile final narrative, layout, and visuals, ensuring alignment with client goals and emotional vision.
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PIC: Everyone
The story is set in a future where the vibrant cultural celebration of Citrawarna has faded, leaving behind silent stages and forgotten performances. Visitors take on the role of a Warden of Memory, guided by the cultural guardian Pak Citra, who entrusts them with reviving the spirit of Citrawarna. By interacting with each cultural room—Malay, Chinese, Indian, and Borneo—visitors use gestures to restore broken cultural emblems and revive performances that bring each stage back to life.
Through these interactions, visitors gradually collect emblems from all four rooms, which ultimately restore a sacred scroll. The journey concludes in the Unity Room, where all revived cultural elements come together in a projection-mapped finale at Merdeka Square, complete with fireworks and a unifying musical performance.
Start of Experience: A darkened pre-show room introduces the mission with Pak Citra as the digital guide.
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Cultural Revival Missions: Each room requires visitors to revive three broken items using gestures, unlocking animations and collecting a performance emblem.
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Finale: In the Unity Room, the collected emblems trigger a grand finale show, symbolizing Malaysia’s cultural unity through dance, music, and fireworks.
This theme reinforces the core idea of cultural revival and unity, aligning with Citrawarna’s identity as an authentic national festival that celebrates Malaysia’s diversity through interactive storytelling.
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| Fig 3.3 Storyline & Theme |
For the interaction storyboards, I was responsible for creating the non-AR experience storyboard, which focused on how visitors would navigate and engage with the exhibition without the use of AR glasses. This included mapping out the flow of interactions from buying tickets to navigating to Istana Satu and wearing the glasses.
Meanwhile, Melvin took charge of the AR experience storyboard, designing the user flow specifically for visitors using AR glasses. His work emphasized how digital elements such as holographic props, animated cultural motifs, and interactive prompts would appear within the AR environment to enhance immersion.
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| Fig 3.4 Floorplan |
Guided Character :
The guided character for WarisanXR, Pak Citra, is designed as a warm, fatherly storyteller who serves as both a narrator and cultural guide throughout the experience. His character embodies wisdom, approachability, and a deep connection to Malaysia’s heritage, making visitors feel personally guided rather than mechanically directed. Inspired by traditional Malay attire, his design incorporates elements such as the baju Melayu, samping, and traditional headwear, symbolizing cultural pride and authenticity while remaining welcoming to all audiences.
Three design variations were explored, including a version with a traditional cap, a kampung-style outfit, and a formal look with kain samping and accessories. Pak Citra’s role goes beyond visual presence—he provides narration, gestures, and prompts that enhance both storytelling and navigation. This approach ensures that visitors experience the exhibition as an interactive cultural journey, with Pak Citra acting as the bridge between tradition and modern AR technology.
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| Fig 3.5 Pak Citra |
Together with Yanny and Guo Ying, we completed the visual mockup for the Chinese stage. The mockup showcases a vibrant traditional Chinese opera setting, incorporating cultural elements such as the ornate stage design, lanterns, and symbolic props.
This high-fidelity visual highlights how the stage transforms during the AR experience, with glowing effects and revived props that bring the performance to life. It also illustrates how visitors would interact with the stage using gestures, making the experience both immersive and culturally engaging.
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| Fig 3.6 Visual Mockup Of Chinese Stage |
At the end of Week 10, we held our proposal presentation online with Mr. Justin and his team from TRUEXR. During the session, we walked them through our finalized theme, storyline, mockups, floorplan, and overall design direction for WarisanXR.
We were thrilled to receive positive feedback from the TRUEXR team, who appreciated the effort put into the detailed research, cohesive concept, and engaging visual mockups. Their encouraging response validated our design approach and gave us confidence in moving forward with the project.
We also worked on creating marketing and promotional materials to support the WarisanXR project. Yanny and I were responsible for designing posters, social media content, and the website to promote the exhibition and reach a wider audience.
For merchandise, Kar Yee designed a wristband, Melvin created a sticker pack, and I also designed keychains as part of the collectible items for visitors. These materials aimed to enhance the overall branding of WarisanXR and provide tangible keepsakes to make the experience more memorable.
Stages Design :
Yanny compiled both the revived props and the broken props into a single Photoshop file.
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The left side shows the revived versions of the props, appearing vibrant and complete to represent restored cultural elements.
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The right side displays the broken versions, with faded colors and missing details to symbolize lost heritage awaiting revival.
This file served as a key visual asset for our storyboard and stage mockups, helping to illustrate the transformation process that visitors would experience as they interact with each cultural stage in WarisanXR.
We successfully completed the stage mockups for all four cultural stages, showing all three key states for each:
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Broken Stage Version – Displays the initial state with faded or damaged elements, representing lost heritage.
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Revived Stage Version – Shows the props and performances coming back to life after user interactions.
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Final Projection Mapping Version – Illustrates the fully restored and vibrant stage, enhanced with lighting, holographic effects, and animations.
These mockups clearly visualize the transformation journey that visitors will experience as they interact with each stage, reinforcing the theme of cultural revival at the heart of WarisanXR.
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| Fig 3.8 Stage Full Mockups |
Marketing & Promotional Materials :
Posters :
For the marketing and promotional materials, Yanny and I started by designing the main poster for WarisanXR. We went through multiple iterations, experimenting with different layouts, color schemes, typography, and visual elements to ensure the poster effectively captured the essence of the exhibition.
After several rounds of refinement and feedback, we finally arrived at the final approved version, which incorporated the right balance of cultural motifs, modern design elements, and clear event information. This final poster became the foundation for other promotional materials, including social media posts and website visuals.
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| Fig 4.0 Finalize Posters |
Social Media Posts :
I created a total of three social media posts as part of the marketing materials for WarisanXR. Each post was carefully designed to be visually engaging and aligned with the exhibition’s branding, incorporating the finalized color palette, typography, and cultural motifs to ensure consistency.
To better visualize how the posts would appear online, I also created Instagram mockups, showcasing how the designs would look in a real social media feed. This helped present a more realistic preview of the promotional campaign and ensured that the content felt cohesive and professional across platforms.
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| Fig 4.1 Instagram Posts & Mockups |
Microsite :
I also designed and developed a microsite for WarisanXR, which served as an interactive platform to showcase the exhibition. The microsite was made clickable with four different pages, allowing users to navigate to the Chinese, Malay, Indian, and Indigenous sections to preview the experience for each cultural stage.
This interactive design gave users a sneak peek of the exhibition, helping them understand the concept and flow of the WarisanXR experience. It also acted as a promotional tool to generate interest and excitement by letting potential visitors explore the highlights of each cultural stage before the actual event.
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| Fig 4.2 Microsite |
Photoshopping Posters Into Mockups :
We also photoshopped the promotional posters into various mockups to visualize how they would look in real-world settings. These mockups showcased the posters placed at strategic locations such as outdoor billboards, shopping malls, highways, public transport areas, and airports.
This approach helped demonstrate the versatility and reach of our promotional materials, showing how the posters could effectively capture public attention across different environments. It also gave a more realistic impression of how the marketing campaign would appear once implemented
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| Fig 4.3 Mockups |
Merchadises :
Wristband Ticket :
Kar Yee designed a wristband ticket that doubles as both an entry pass and a souvenir for visitors. The wristband includes a scannable QR code, which links to interactive features related to the exhibition.
Additionally, she created a floorplan of the National Museum, integrated with QR codes that visitors can scan to easily navigate to Istana Satu and preview details about each cultural stage. This design enhances both the visitor experience and wayfinding, making it easier for attendees to explore WarisanXR.
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| Fig 4.4 Wristband Ticket |
Sticker Pack :
Melvin designed a sticker pack as part of the WarisanXR merchandise. Visitors would receive the sticker pack at the end of the experience as a fun and memorable takeaway.
The stickers featured cultural motifs and elements from the four heritage stages—Malay, Chinese, Indian, and Indigenous—along with key symbols from the exhibition. This not only served as a souvenir but also reinforced the theme of cultural revival and unity, allowing visitors to keep a piece of the experience with them.
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| Fig 4.5 Sticker Pack |
AR Keychains :
I designed AR keychains that allow users to continue engaging with WarisanXR even after their visit. Each keychain includes a scannable AR marker, which, when scanned with a mobile device, revives parts of the exhibition experience.
By scanning the keychain, users can see holographic performers and cultural props, along with additional information about the performance elements. This feature extends the exhibition’s impact beyond the physical venue, letting users revisit and share the cultural experience anywhere.
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| Fig 4.6 AR Keychains |
Navigation Ribbon Design :
Kar Yee and Jia Jia collaborated on designing the navigation ribbons for WarisanXR, ensuring that each ribbon visually matched the cultural identity of its respective stage (Malay, Chinese, Indian, and Indigenous). These ribbons acted as thematic visual guides that led visitors through the exhibition in an immersive and culturally cohesive way.
Once the designs were finalized, Guo Ying animated the ribbons, adding flowing movements and visual effects to make them feel lively and interactive within the AR environment. This combination of design and animation enhanced the navigational experience, making it both functional and visually engaging for visitors.
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| Fig 4.7 Navigation Ribbons |
Emblem and Totems Design & Animation :
Melvin and Zhenxing were responsible for creating the emblem and totem designs for each cultural room. Every room was given a unique totem, incorporating cultural motifs that visually represented the heritage of that stage.
Once a visitor completed a room, they would receive the corresponding emblem, which would appear on the totem as part of the interaction. Melvin and Zhenxing also worked on animating these elements, ensuring that the totems lit up or reacted when an emblem was unlocked. This added a layer of gamification and visual feedback, making the experience more rewarding and immersive for visitors.
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| Fig 4.9 Emblem Designs |
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| Fig 5.0 Example of Malay Stage Emblem |
Yanny was responsible for designing the backgrounds for the AR photobooth. These backgrounds were created to reflect the cultural themes of each stage—Malay, Chinese, Indian, and Indigenous—ensuring that visitors could take memorable photos that matched the overall WarisanXR experience. Kar Yee photoshopped our photobooth and added the background.
Each background incorporated key cultural motifs, colors, and decorative elements, making the photobooth feel immersive and aligned with the exhibition’s visual style. This feature gave visitors a fun and interactive way to capture their experience while reinforcing the theme of cultural celebration.
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| Fig 5.1 AR Photobooth |
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| Fig 5.2 Photobooth Kiosk Mockup Outside Istana Satu |
I took charge of creating the AR Experience Storyboard, focusing on how users interact with holographic elements, revived props, and animated cultural performances using AR glasses. My storyboard detailed the user flow, gestures, and visual effects that would occur at each stage, ensuring the experience felt seamless and immersive.
Meanwhile, Melvin, Jia Jia, and Zhenxing , Karyee worked on the non-AR experience storyboard, which outlined how visitors without AR glasses would navigate and interact with the exhibition. Their storyboard emphasized physical wayfinding, projection mapping, and interactive props, ensuring that non-AR users would still enjoy an engaging and meaningful experience.
AR Storyboard :
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| Fig 5.3 Onboarding |
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| Fig 5.4 Chinese Stage |
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| Fig 5.5 Malay Stage |
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| Fig 5.6 Indian Stage |
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| Fig 5.7 Indigenous Stage |
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| Fig 5.8 Unity Stage & End Of Experience |
Non AR Storyboard :
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| Fig 5.9 Non AR Storyboards |
Final Project Tracking Document :
3. Task 3 : Final Presentation
TRUEXR also provided us with constructive technical feedback to help bring the concept closer to real-world implementation. They suggested exploring WebGL AR as a more accessible way to activate experiences from the keychains without relying on mobile apps. Additionally, they recommended shifting toward lower-poly art styles to better match the performance requirements of AR on current hardware, particularly for mobile and web platforms.
Despite these technical notes, the overall feedback was very encouraging. TRUEXR expressed that they were happy with the final outcome, and they acknowledged the amount of thought, effort, and detail that went into building an immersive and culturally rich AR experience. It was a fulfilling way to wrap up the project, and their feedback will be incredibly valuable for our future work in both client-based projects and AR development.
Final Presentation by Winnie Ho4. Feedback
5. Reflection
As the group leader, this minor project has been one of the most demanding yet enriching experiences in my academic life. The workload was undoubtedly intense—especially when balanced alongside other modules like Unity-based development—but it pushed me to grow not just as a leader, but as a designer, communicator, and collaborator. Managing the team while juggling my own deliverables required discipline, time management, and emotional resilience. Every late night and revision became part of a larger journey that taught me far more than just technical or design skills.
One of the biggest takeaways for me was understanding that designing for Augmented Reality is not just about creating impressive visuals—it’s about crafting an entire experience. Every interaction, from the way a prop revives to how lighting responds to a user’s gesture, plays a role in shaping emotion, storytelling, and memory. Working on WarisanXR made me realize how AR has the power to bridge history and technology, creating immersive moments that leave a lasting impact. This meant we had to think beyond aesthetics and focus on user journey, spatial awareness, gesture intuitiveness, and emotional pacing. It was a lesson in empathy—designing not just for what users see, but how they feel and respond.
Leading the team taught me the value of delegation, trust, and maintaining a clear creative vision while still being open to collaboration and feedback. It wasn’t always easy to align ideas and manage changing requirements, but seeing my team members step up, offer their creativity, and bring their assigned cultural rooms to life was deeply rewarding. I learned how to guide and support without micromanaging, and how to keep morale high even during crunch periods.
Most of all, I am incredibly grateful for the opportunity to work with TRUEXR, the National Museum, and Mr. Mike. Collaborating with a real industry client elevated the entire experience, bringing in professionalism, real-world expectations, and an appreciation for the iterative process. It was eye-opening to see how client feedback shaped our designs, and how each round of refinement brought us closer to a more meaningful and polished outcome. It felt like more than just a school project—it felt like we were building something with purpose, something that could truly honor Malaysia’s cultural heritage in a modern, accessible way.
This project has left a lasting impression on me. It deepened my appreciation for immersive storytelling, sharpened my leadership skills, and taught me how to translate abstract ideas into tangible, impactful experiences. I walk away from this with not just a completed proposal, but a stronger sense of self as a creator.
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