02/02/2026- 17/03/2026 (Week 1-Week 7)
Lizzie Tanaka (0362065)
Major Project 2 | BDCM | Taylor's University
Final
Project
INSTRUCTIONS
Before the semester started, we've agreed to continue working as a group
and we've briefly discussed the planned workflow. We needed to do a lot so
Sheryne and Ying-Ying as the illustrators of our team, started sketching a
week before to get a headstart. We agreed to divide the coloring part so
that each person would have to color ten illustrations.
This blog will focus more on my task, for more details on each tasks, visit
these blogs;
- Aisya
We created a Miro board for easy overview on our progress, feedbacks, and
all important links.
I. Branding and Logo
We thought of updating the logo because the curls in the icon might be too
intricate and too detailed. We thought of exploring monograms and
simplifying the curls. Ms. Vitiyaa said that updating the logo is good but
need to finish by this week. After the class in the first week, we explored
on our monogram idea.
Fig 1.1 Monogram exploration
But after a while, we didn't find anything that would represent us well
and since Ms. Vitiyaa told us that the rebranding wasn't necessary, we
decided to make a small change by choosing a new brand typeface to support
our initial icon design. Below is the font we chose. It's a condensed
sans-serif to convey less luxury on our brand but a more approachable
brand.
Fig 1.2 Final primary logo design
By week 2, we consulted this to Ms. Vitiyaa and she agreed and allowed
to proceed with this logo and branding. We settled the font with CoFo
Glassier and CoFo Gothic NF for our body texts. However, during week 4,
we changed the body text font to Sutasoma as it was under an open
license and we were able to upload the font in our website to ensure
consistency.
II. Packaging
For our packaging, we did a mockup of Fig 2.1 and for MP2, we wanted to
bring this to life. However, we came up with another idea to elevate our
project.
Fig 2.1 MP1 packaging mockup
On week 1, we had an idea to create two different packaging. One is the
special packaging and the other is the regular packaging. We had a
discussion to settle on what the contents would be for each, to
differentiate it. We concluded that:
- Special packaging
- Character cards
- Narrative cards
- Booklet
- Hourglass
- Regular packaging
- Character cards
- Narrative cards
- Mini information sheet with gameplay and QR to our website to access the folklores
For our packaging, Aisya is in charge of it. The main challenge was to make
the packaging insert that looks neat because we have 4 items with different
depths. Aisya estimated the thickness of the card decks and booklet and we
worked with this estimation.
Special Packaging
a. First Dieline
At first, I suggested a dieline system from my own project that has applies
different heights on the base of the tray.
Fig 2.2 Prototype from my project
We tried this dieline to see if this worked or not.
Fig 2.3 Measurement drafts for the dieline
Picture from Aisya
Fig 2.4 Arrangement of the packaging insert [side view]
Picture from Aisya
Fig 2.5 Layout of the items
The layout was supposed to use the hourglass as the divider from the
book and the cards.
Fig 2.6 Digitized dieline
Picture from Aisya
Fig 2.7 Prototype
Picture from Aisya
Fig 2.8 Final dieline
Picture from Aisya
We tried the dieline on paper and it worked well. What we were worried was mainly the accuracy of the size of the insert because we didn't have the products yet.
Fig 2.9 Final dieline
After a very long process, the dieline is settled and even then, there were a lot of revision before the printing with Mummy. We also gave our prototype to Mummy because the system of our insert involves the 'bowl' part being glued to the top layer.
Fig 2.10 Final Prototype
Picture from Aisya
Afterward, we drafted the packaging designs. We included our logo and the
list of folklores we had to show the audience a gist of the characters. The design is simple by nature as we thought that the more colorful part is the cards, so the outside could be simple.
Fig 2.11 Packaging design drafts
b. Regular Packaging
For the regular packaging, we thought of doing something similar to a
cigarette box. But after exploring more ideas, we came across this
packaging, in Fig 2.12 that fits our brand better.
Fig 2.12 Inspiration for our regular packaging
Fig 2.13 Prototype for regular packaging
Picture from Aisya
After the prototype is done, we started on the packaging design. We kept
the design simple and we kept everything center aligned to ensure
consistency. On the front is our logo with collection number. And on the
back was the list of the folklores. Ms Vitiyaa suggested we put the list of
folklores so that people have an idea of what's inside.
Fig 2.14 Final dieline and packaging for print
On week 6, we realized we were way over our budget and we thought of reducing our spending on this project. So, we decided to make the regular packaging like those playing cards box instead, using artcard material instead of rigidbox, significantly reducing our spending.
For the new idea, we quickly prepared the dieline and the packaging design.
However, with our new packaging, I thought of adding the paragraph that
explains what Cerita Rakyat is, because without the paragraph, the mass
public will have no clue of what this box is filled with. Even the list of
folklores wouldn't be enough explanation. We also planned that this regular
packaging targets the mass public but the special packaging is collectors
only.
Fig 2.15 Final regular packaging design
After we printed both packaging, the special packaging had some minor
defects. For example, the magnets weren't as strong as the ones we saw in
Mummy's samples. We also underestimated the thickness of the narrative
cards. This ends up making the slot for the narrative cards a bit too
tight. So for the bottom ones, they ended up curved if we wanted them to
fit, raising the height of the deck.
Fig 2.16 Curved card
Fig 2.17 Ribbon
Picture from Aisya
III. Card Design
a. Character Cards
For the card design, not much is changed from the previous draft. We had to
update the patterns for each regions and finalize the layout. Aisya was in
charge in finalizing the patterns for each region.
Fig 3.1 Initial layout and final patterns
On week 2, we got feedback from Mr. Kannan that the layout of the card was
too overpowering on the illustration and that we should allow more space for
the illustration to pop out. With this feedback, we worked on the layout
again. Ying Ying drew some sketches and I attempted to digitize but we
failed to see that our card size isn't the same with the sketch.
Fig 3.2 Attempt on updating the card design
Afterward, we decided to settle on our initial card design but we made the
space for the illustration bigger, creating smaller margins on the
cards.
There was a few days of us rethinking our gameplay again and it took so
much of our time but at the end, we decided that the issue on our gameplay
was the lack of rules and competitiveness. We ended up making the timer much
less to increase adrenaline and we added activation number. These numbers
range from 1 to 3 and it refers to the amount of times each card needs to be
used until it can be discarded from the player's deck. Our winning condition
was to be the first person who discarded all their cards.
The same day, we also explored and finalized the activation number design
on the cards. We wanted to use an element of our brand to ensure it's
consistent too and we ended up using the Gunungan shape with the number
inside. We thought it was the most direct, easy to understand approach to
this.
Fig 3.3 Activation number on cards
After the card design, front and back was finalized, we started to prepare
for the print-ready file. Since I was responsible to liaise with print
vendors, I thought of making the process easier in the future and make sure
the working files were already neat and print ready.
Fig 3.4 Print-ready card file
To do this, I arranged all the cards, one region for each row and the back
design of each region. This was done in around week 3-4 and because most of
the illustrations weren't ready yet, I worked on changing the names of each
character and filling the description and personality with what we currently
had. Me and Aisya was simultaneously working on the contents of the
cards.
Fig 3.5 Process as the illustration completes
Fig 3.6 Finalizing the back design
Fig 3.7 Final card design for all
Mummy ended up asking us to separate each region into a file. After we
printed, we noticed some issues such as a random curve on some cards on
Papua cards even though it didn't exist in our file. We also noticed there
was a misplaced text on the Buto Ijo card, yet we've never written the
text at all.
b. Narrative Cards
There wasn't anything we changed for the layout so we worked on finalizing
the back design and we spent quite a while to finalize the narratives to
ensure it wasn't too vague or too detailed. This is in hopes that the
players still have full reign of creativity to create whatever story they
wanted and not heavily bounded by the narrative card they
selected.
Fig 3.8 Print-ready file for narrative cards
IV. Illustration
Sketches were mostly done before the first week started as Ying Ying and
Sheryne have started during the semester break. All characters and regions
were also already finalized. During the first week, only a few sketches were
left but Sheryne had already started the lineart for her
sketches.
Fig 4.1 Sketches
Fig 4.2 Lineart
The initial plan is to have Aisya and me also help in the coloring part,
but midway in our project Sheryne told us that it was easier and quicker for
her to do all the coloring since if not, she has to pick out the color
palette for us and there might be more back and forth with the revisions. We
agreed with her and that's how Sheryne ended up doing all the lineart and
coloring.
On week two, there were some exploration based on Ms. Vitiyaa's feedback
but when we attempted it, we didn't think it worked with our brand and
direction.
Fig 4.3 Attempt on feedback
The same week, we also decided to ask feedback from Mr. Kannan. And based
on Mr. Kannan's feedback, Sheryne tweaked the color by adding overlay to
make the colors pop more. He also suggested we highlight the
illustration more on the card design.
Fig 4.4 Before and after Mr. Kannan's feedback
Fig 4.5 Colored Illustration
V. Booklet
As I was in charge of the booklet design, I started by drafting initial
layouts for the folklores first as it was the main component. A few changes
we agreed on compared to the previous booklet design:
- Put the character illustration only instead of the entire card to save space for the folklore.
- Put the character's name and description and personality as well.
- One folklore for each spread instead of the previous one folklore to fit in only one page. This creates more space for the folklore and gives users a better flow of understanding the folklore by getting to skim for the characters first before jumping into their stories.
- Better typographical hierarchy in terms of the title, characters, folklores, and moral value section.
Fig 5.1 First layout draft for manual
After the first draft, which had the same layout with the previous one, we
decided to venture out and split one folklore into two pages in one spread.
Which allowed the information breathing space and wasn't too
cramped.
Fig 5.2 Second layout draft for manual
With the draft initial layout finished in Illustrator, I continued in
InDesign to prepare the template for each folklore. Again, this was done
during the ongoing process of the content writing and the illustration, so
that the file would be print ready and neat by the time we needed to send
over to the print.
Our one and only anomaly page was the Ampat Raja folklore because we had 5
characters instead of only two or three. We explored some layouts like below
and ended up with the final one.
Fig 5.3 Exploring layouts for Ampat Raja
Below is the final layout for the Ampat Raja. We divided them into two
categories; the four brothers and Pintolee, the sister. We incorporated
lines as a divider to ensure it still looks consistent as the line is also
employed in the moral value divider section.
Fig 5.3 Final layout Ampat Raja
Fig 5.4 Trials and iterations for chapter dividers
For our miscellaneous pages, we had two chapter dividers; the introduction
with gameplay rules and the folklores chapter. We decided to use the thick
frame on the top right of Fig 5.4.
As for the region dividers, at first we wanted to use different patterns
but we thought that it would seem overwhelming, so we stuck with the
initial design of the ornaments and for the empty page on the left, we
wrote down the folklores of the regions and its specific origin.
Fig 5.5 Process on frame
Part of this process was to make the ornaments which I decided to
repurpose from our icon lines. We rearranged these lines to create an
ornament that is neutral and can be used for any context within our
design.
Once a few pages were ready, I printed them in a sheet of paper for
feedback on the layout. Ms. Vitiyaa liked the layout and her feedback were
mostly for the kerning, leading, ragging, and the page number. We fixed them
and continued completing the content.
Fig 5.6 First round of feedback
Approaching week 4, when all the written content was done and nearly all
the illustrations were done, I prepared the pages and we printed and showed
it all on a sheet of paper to Ms. Vitiyaa for feedback. I personally wanted
the typography to be checked for the final printing. There wasn't much to
update other than a few ragging and she pointed out some illustrations
blended in a bit. She also approved of the other pages.
Fig 5.7 Last round of feedback for manual's typography
.jpeg)
Fig 5.8 Last round of feedback for manual's typography (2)
Fig 5.9 Gameplay spread
Fig 5.10 Comparison of MP1 vs MP2 book layout
As for the mini guidebook, it was pretty direct. It only included the
gameplay rules and a QR code to direct users to our website to read the
folklores. The size is the same with the cards when folded.
Fig 5.11 Mini guidebook - Outside
Fig 5.12 Mini guidebook - Inside
We were quite ambitious in the beginning and had no idea how much was our
budget so we wanted to print our booklet in GMW Creative, one of Ms.
Vitiyaa's suggestions. Anyway, we didn't end up printing there because we
still had to source the paper material ourselves and we were running on
very tight timeline and budget, so we chose to be more realistic this
time. Though we hoped one day we'll get the chance to print this game on
better materials.
VI. Merchandise
At first, our only idea was some chibi style stickers and keychains. Ying
Ying was in charge of the chibi style and we consulted this to Ms. Vitiyaa
and Mr. Kannan too, because we thought that a chibi style might be too
different to our style. However, it was approved with the note that the
chibi should retain the original illustration's characteristics based on the
character. For more details on the chibi design, check
Ying Ying's
blog.
Fig 6.1 Before feedback
After a few revisions, it was finally finished and we moved to arrange the
illustration in a sticker sheet. I arranged it in Illustrator to prepare the
print-ready file.
Fig 6.2 After feedback
At first, we wanted to arrange it like Fig 6.3, left picture. However,
after we tried, it left out very awkward spaces. Two characters that are
beside each other are supposed to be connected. For example, on the top is
Darmi and Malin Kundang, two characters who are disrespectful to their
mother and was turned to stone. Then the middle row is Princess Laiamon and
the Crocodile and finally the bottom row is Biwar and the Dragon. There was
no space left for the Darmi and Malin Kundang sticker.
Either way, this arrangement didn't work as nice as we planned so we had to
compromise and re-layout by making the sticker sizes a bit
different.
Fig 6.3 File prep for sticker sheet
We also adapted our logo and three of the illustration to keychains. I sent
to the print vendor and they added the hole for the clasp.
Fig 6.4 Keychain file
Fig 6.5 Printed keychains
We also thought of doing bookmarks so we designed it and had it printed.
For the bookmark, we arranged as many bookmarks as possible into one A3
Artcard paper and we cut them ourselves to save budget.
Fig 6.6 Bookmarks
These three merchandise were sent over to print by the fourth
week.
On week 5, Ms. Vitiyaa actually suggested we package up our merchandise in
an envelope. So we had an idea to bundle our merchandises in an envelope and
completed it with a stamp sticker. Unfortunately, we couldn't find an A6
portrait envelope, so we did our own dieline and printed it on kraft
paper.
Inside the bundle, we also gave a tiny envelope with three random stamp
stickers. This was done on a whim so there wasn't enough time to buy from
Shopee so we printed ourselves.
Fig 6.7 Kraft Envelope Dielines
As we wanted the bundle to mimick a package, we made stickers inspired by
postage stamps and printed a bunch of them using our characters. Check
Sheryne's
blog for more detail on the stamp stickers.
Fig 6.8 Print ready file for the stamp stickers
VII. Social Media
Our social media plan probably went a bit overboard.
- Coming soon: divided into three posts, one row
- Region Trivia: 5 posts individually
- One humorous post catering to Gen-Z which is our main target audience
- Why we created Cerita Rakyat
- Introduction to the Cerita Rakyat team
- Logo philosophy of Cerita Rakyat's
- One process post
- Photography snapshots to balance out the illustration heavy account
I was responsible for the social media so by week 5, I began by
drafting the introduction posts [6] and the region trivia. We arguably
spent more time with thinking for the humorous content. On the final part of the execution was the introduction to the team
members and the content for the trivia. We decided to spotlight each
member individually and make each of us a quote about our experience in
Cerita Rakyat.
Fig 7.1 Process on introduction posts
At first, I designed the trivia post with left alignment. But then, we
considered how all of our designs were center aligned, so we changed it to
center aligned. We all agreed it looked better so we proceeded with
this.
Fig 7.2 First and final layout for region trivia covers
I then proceeded to do the humorous content. Thinking of the joke itself
took more time than the layout design but we finally settled on 5
characters. Then I worked on the slide content for the region trivias
which includes a short summary of the character and a CTA to our
website.
Fig 7.3 Process on humorous content and region trivia slides
For the process post, the one I had in mind was somewhat stop motion post
of our sketches, linearts, and colored illustrations. I used Photoshop
frame timeline to execute this. Then, sound effect was added to support
the video.
Fig 7.4 Process on Photoshop
And finally, the photography posts. We thought this added warmth to our
social media and made it look like it isn't just solid colors, gradients,
and illustrations but also real people behind the project.
VIII. Website
On week 3, Ying Ying planned the user flow and the content structure of the
website. We discussed whether we wanted to do a shop-focused website or just
an informative one. At the end, we decided to go with the
latter.
Fig 8.1 Website flow
See in Miro
Ying Ying and Sheryne was in charge of our website and they first drafted
it in Figma, from the low fidelity to the high fidelity prototype. Then they
moved it to Framer because Framer allowed us to publish the website into an
actual working website.
Fig 8.2 Low-fidelity prototype in Figma
Even until the final push of our project, however, the website wasn't
perfect yet according to them, because making the web responsive to tablet
and phone was a real struggle with Framer. There are a few missed alignments
because no matter what we did to fix it, redoing the effects and everything
else, nothing seemed to work.
Fig 8.3 Framer workspace
IX. Photography
This was a plan we had since the first few weeks but we weren't sure we
could do it at all, given that our timeline was pushed. Fortunately, it did
work. We did the photography session the night before our presentation and I
quickly edited some of them so that it could be used for our social
media.
This was, for me, quite a new experience but it was fun. I borrowed a
camera from my friend and genuinely had a fun photoshoot session, even if it
was at X-Space at nearly midnight.
For our photos, we did want to focus more on the product, showing our main
items especially the cards, packaging, and manual. I had Ying Ying, Sheryne,
and Aisya pretend to play the game and snap a few pictures of them.
Then, because of the super tight timeline (our presentation was in 7
hours), I attempted to edit the picture as best as I could with my limited
abilities. The photos on itself was very hazy, grainy, and it wasn't as
saturated as we wanted. Our cards illustration lost its color.
We snapped hundreds of pictures but we only managed to edit a few notable
ones that we wanted to use for our Instagram and website. Below is a few
before and after comparison.
Fig 9.1 Before vs after
Fig 9.2 Before vs after (2)
Fig 9.3 Sample process of photo-editing
Fig 9.4 Sample process of photo-editing (2)
After all of these were done, we compiled them into a presentation slide
for the final presentation day. We also added decorated our table to
support our products.
Final Result
FEEDBACKS
Week 1
General:
Finish by week four, allocate two weeks for printing
Prioritize important items, physical items.
Last two weeks: Do digital products like Instagram and a website.
Print at least two: one for submission, one for exhibition
Exhibition stuff: Digital mockup only [bunting, floor plan]
Merchandise: 5 keychains, 6 sticker designs.
Specific:
Packaging:
Two packaging idea is accepted [one regular and one special]
Manual:
Something's wrong with the font thickness, it’s inconsistent [referring to MP1 draft]
Can't see if it's good or not yet as the branding isn't done yet
Logo:
Idea to improve the logo is okay, proceed. Finish by next week.
If too much work, the current logo is okay as well.
Illustration:
The newer style looks better (shadow and line thickness).
Quickly finish the illustrations
Week 2
General:
- Finish by week 5
- Overall already ok
Specific:
a. Ms. Vitiyaa
Packaging:
Our idea for the rigid box as special packaging is good to go
Ms. Vitiyaa gave us a list of print vendors to try
Manual:
Try contact sheet printing for the new proposed size
TOC, intro and gameplay page is all good to go
Page number smaller OR lighter color
If the book will be bigger, increase only ONE pt for font size body text
Character title decrease by ONE pt
Chapter Dividers: All good, things that look expensive like the frame, please don't repeat it too much [the folklore frame].
Logo:
Looks better than the previous one. The new font is a good choice.
Illustration
It's getting a bit flat and childish, so maybe we can try only color either the background or the character, the rest keep it BNW, so that the characters pops out more.
Keep it more earth toned color
b. Mr. Kannan
Art direction & branding
Since our new direction is: storytelling, authentic, and high quality (not luxury). For the old MP1 illustrations, the colors are too bright and contrast. The colors should be more saturated.
Card layout & hierarchy
The card frame and layout is overpowering the illustration.
A good card should: lead the eye to the character first, then to key details (name, personality, text)
The borders, frames and ornaments must support the artwork.
In terms of anatomy, you can refer the body as a 3D mass (rib cage, pelvis, flow)
Be conscious of the central line, and shadow placement (should this place be darker or no?)
Overall it's ok
You can use an elongated background to cut more time.
The current colors are too radial and harmonious (everything blends), you need contrast and hierarchy for:
Highest saturation= focal point (ex; for timun mas its her ouch)
Highlights/whites (can consider)
Darkest tones
Mid-tones last
Use complementary colors, gradients, soft light, overlay in multiply layers.
Using monochrome colors like Ms. Vitiyaa's feedback can be time efficient but it ruins your brand's essence. If they're done poorly they will strip away the 'folklore' style, and make the cards feel flat or generic, and weaken the stroytelling.
Chibi in this case is allowed and valid, if:
- The character identity is preserved
- Patterns, accessories, and landmarks are consistent and simpler.
- Only specific features, not everything.
Week 3
No class due to CNY Holiday. Progress continues:
- Continue on the illustration and change the color palette.
- Starting to test the packaging dieline by making the prototype using cardboard.
- Continue the booklet design, summarizing all of the folklores, starting on making prompt for the card narrative.
Week 4
General
Overall direction is on the right track
Specific:
Packaging
The packaging must communicate essential information, the required information:
Story title
Collection name (ex: Gold Collection/ Volume 1 collection)
Manufacturer/creator name
The list of stories that we chose (for a regular box place it on the sides; for a special box place it on the bottom).
Stay simple for your packaging design, because the cards are what makes the whole 'Cerita Rakyat' thing to be more conceptual.
For the special box, the thickness needs to be 5mm in order for the tray to be able to hold your product.
Manual:
The page numbers should be in smaller size or make it in lighter color/lower opacity.
Fix some of the ragging.
The manual book layout is better than the previous one.
Merchandise:
Merchandise packaging is optional but recommended, to build your branding and strong impression. You can use an envelope with your logo as a sticker.
Illustration
The character's color direction is accepted, and the card design template is better now.
Second round of feedback:
Packaging:
If the font size of the inside content (manual) is small, the packaging design (at the back), should not be big.
12 pt on packaging+ too big, try:
11 pt
10.9 pt
11.2 pt
Keep logo, elements and font centered alignment.
Keep logo, elements and font away from the folding line, always leave a safe margin.
Manual:
The font size for the body text (6pt) is acceptable, adjust the leading and kerning in some areas, some lines look too tight or uneven.
Do not reduce font size further.
Maintain paragraph consistency, check if all paragraphs: end with a full stop/or none of them end with a full stop.
Some of the paragraphs block look inconsistent.
QR code placement has no issue.
Illustration
The color for Buto ijo and War are too dark and not as balanced as the other illustrations; the characters blend too much with background.
Week 5
General:
- Be punctual to send all the design that needed to be send
- The overall branding is okay
Specific:
Website
Overall, the website is good to go, just need to refine some buttons that don't work.
Add a section about your branding/team, ex: ‘what is Cerita Rakyat?’
Packaging
The packaging design and dieline are all alright, just need to be sent as soon as possible to the printing shop.
Week 6
The regular packaging is allowed to be changed due to the budget constraints.
The change of the rigid box to artcard material for the regular packaging is approved.
Packaging design for the regular packaging approved.
The website content for ‘About Us’ is accepted.
Social media design is approved but Ms. Vitiyaa suggested we add introduction posts to what our project is about and who is behind the team.
Week 7
No specific feedback or question regarding the project.
REFLECTIONS:
Experience:
This entire module and project has been an experience I would never forget. It was tedious, time-consuming, so challenging but it was also a really fun time getting to pour out our creativity into a project. Returning to this project after a year wasn't a really easy choice for me as I told myself I wouldn't want to do a game for my final project and I wasn't too sure with our project in last year's MP. At the end, I decided to stay in the group and work on Cerita Rakyat which I don't regret at all.
I'll be eternally grateful for my teammates, people that I have relied on this past year. I have teammates that reassure me for all my overthinking phase and they stay open to all ideas and possibilities.
This project taught me lifelong lessons that I believe will be useful in my future endeavors. I learned the importance of teamwork, communication, and time management. But aside from that, I also learned more about branding and identity, how it shapes our game and fits the target audience and how challenging it is to ensure it stays consistent without being boring and repetitive.
Of course, like all other projects, there are flaws and imperfections and there is a lot of things I consistently look back and regret and wish I could improve it but there's no point in dwelling in it but I keep every regret as a lesson for future projects.
Observations:
Throughout these seven weeks of working with my teammates, one thing I observed we lack is time management and aligning our time between each other. Some of us have become night owls and some of us stays as morning person, which is complete opposite and I feel like this is the one thing that reduces the effectivity of our communication after a while. I do wish I was the morning person.
I also observed, personally, for myself, I think I lacked in staying focused in this project. It was easy to make plans and goals but it was terribly hard for me to actually stay focused in my tasks and job and I keep on straying from what was supposed to be the priority for me at the time. Even though it wasn't a huge mistake, I feel like the workflow could've been better if I stayed hyper-focused as it sometimes can slow down the group progress.
Findings:
Once again, like in every group work, I find that communication and teamwork is so incredibly important. I also find our communication could definitely be improved as I have mentioned before. I also find that having supportive teammates really makes the burden so so much more bearable. Even with our direction going strong, there were a lot of times I doubted our project and at one point we almost changed our direction but the team supported the project and at the end, Cerita Rakyat is finally done.
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