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Unit 3

Unit 3 : Primary Research

Preface

The experts and players that have agreed to contribute to this project come from varying backgrounds and have different life experiences. They have offered valuable information that helped shape my practice and this project.

It’s important to note that not all the rounds of gameplay have been recorded, for the sake of privacy and to ensure that the game is enjoyed in an uncensored way. Some of those players were however kind enough to submit their experiences on the forum (see end of page).

4.b. Prototype Trialling

The prototype was first trialled in its most primitive form: a bank of questions that sat in a Microsoft Excel sheet. It was tested in a quiet and safe environment and the players were made aware of the nature of the game and its emotional implications.

Working in a clockwise motion, each of the three players chose a question from the bank and read it aloud to the next. As the round’s transcription reveals (see following), the players followed up the questions with some of their own—which made for an engaging round.

Transcriptions:

Player 1

Player 2

Player 3

  • Hope: ‘Name one thing you’re looking forward to.’

Player 1: I’m looking forward to next week because it’s player 2 and I’s third year anniversary.

  • Pride in achievement, self-confidence, sociability: ‘What is your most unique trait?’

Player 2: I think a unique trait if mine is that I’ve got a keen eye for detail.

Player 1: What shoes was I wearing during our first date?

Player 2: Your black Nikes

Player 1: You’re right actually.

  • Gratitude, thankfulness: ‘What is your biggest source of motivation?’

Player 3: My sense of wonder and curiosity.

  • Frustration, disappointment: ‘Talk about a time when your hard work did not pay off.’

Player 1: It happened when I was in my last year of school, specifically when I was studying for my A levels. I was supposed to go to KCL but I f*cked up my chemistry exam. In retrospect, I perhaps didn’t study as much as I should’ve but I still stayed up all night. I got a C. I couldn’t attend KCL. It was unexpected. I was sad for six months. I was upset when I attended the other uni, because I felt was supposed to be elsewhere.

  • Alarm, Terror, Panic: ‘Talk about a time when your gut feeling was right.’

Player 2: I had a feeling that there would be police raids in my area in [redacted] about 3mos before they happened. that’s when I stopped [redacted]. I tested negative for my [redacted] test and I was safe.

  • Attraction, desire, admiration: ‘What is one thing you wish people knew about you?’

Player 1: I would say, my anger issues. I wish Player 2 knew more about it. i am aware that I get too angry sometimes, but it’s something I can’t control. You’d only understand it if you went through it. I’ve been trying to control it for years.

  • Sympathy: ‘Is selflessness selfish? Discuss.’

Player 2: I think its selfish because when you’re being selfless you’re mostly likely being selfless for someone which means you’re expecting a reward, and if you’re expecting a reward it means you’re being selfish.

  • Cruelty: ‘Have you ever caught yourself feeling happy about someone’s misfortune?’

Player 1: Yes. it’s an emotion we have to admit sometimes.

My [redacted] kept bragging about a holiday. Her posts always revolve around money and possessions, thousands of 100 dollar bills, within [redacted] where people are living under the poverty line. She’d caption her posts with lines like “when your parents don’t work but they still get hella dollars” so for a while I kept thinking about how she didn’t deserve it. They had a family holiday booked to [redacted] and again, she kept posting and bragging about it. The day after she posted about it they all got covid and the holiday got cancelled. I felt good about it.

  • Love: ‘Recall the most romantic moment of your life.’

Player 2: It’s something I won’t forget. It’s to do with the first time we met. The first time we saw each other after we started talking. We met at downtown. She was standing there waiting for me. I was walking towards her. There was a flock of pigeons that flew between us. We looked at each other for a while as the sun was setting upon us. We looked into each other’s eyes. It’s something II won’t forget.

Player 2 to Player 1: ‘What’s yours?’

It’s the day I discovered he fit in with my family. He drove all the way to [redacted] and picked me and my aunt up and then drove all the way back. Experiencing that with my family was comfortable. He fit right in. we were all engaging in conversation. That’s when I was realised I was in love with him. You’d want your partner to fit in in your life. Our worlds collided so easily.

  • Gratitude, thankfulness: ‘Name one thing you get to experience in abundance.’

Player 1: Patience from Player 2. He’s the only person who’s patient and who listens. He does it in a way that I need from people around me.

Learning Outcome:

After the game, despite knowing each other for a few years already, the players disclosed that they enjoyed the gameplay and getting to know each other in a way they hadn’t gotten to explore prior. The feedback was encouraging and pushed towards further exploration of the project.

6. a. A Professional’s Opinion (D.C, children’s psychologist)

The first professional feedback was given by a licensed and practicing psychologist, D.C. Upon presenting the prototype’s premise, form, goals and framework, D.C was pleased to give feedback, which went as such:

The inner child work is truly a healing process… I think what I would add is for some people this could really help them heal collectively. For others it might trigger wounds that they are not ready to face, if for example they have PTSD it could trigger an episode and they might not know to come back to the present from their dissociative state. In order for you to protect yourself and them, I would  suggest you mention that this project is not therapy and is intended to promote self healing through discovery and collective healing. Perhaps you can add that if someone would like to consult with a trained mental health professional contact the following organisations: (you can mention some helplines or therapy offices).

D.C on re.veil

6. b. Learning Outcome (D.C)

As D.C had pointed out, adding a trigger warning would be crucial to protect the players from an unwanted negative reaction to the game. Furthermore, specifying that this project is not a replacement for therapy is also important, and instead specifying that it could:

  • be a complement to the therapy that one would undertake
  • kick-start the process of seeking help
  • be a way through which someone could help understand themselves and others

6.c A Professional’s Opinion (L.A.A, psychologist and special ed. teacher)

Specialising in trauma and currently mentoring children with learning disabilities, L.A.A was a good candidate for my project.

Can I just say that I absolutely love this concept! It’s such a creative way to get in touch with our past and further understand our emotions. Our past experiences shape us and we tend to avoid asking ourselves important questions, reflecting, finding appropriate ways to cope etc. It’s not an easy thing to do. It takes a lot of effort and courage. The card game is genius!! Such a good ice breaker. A fun way to engage in self-awareness.

L.A.A on re.veil

6.d A Professional’s Opinion (B.A.A, psychologist, psychiatry student and researcher)

Psychology graduate and psychiatry post-graduate student and researcher B.A.A gave thorough, in-depth feedback about the project:

First thing I should tell you is well done it looks really good. The idea is very creative, the execution is on point and the design choices are amazing which, I guess, is no surprise considering you are an expert on that. It looks really good, it’s well put together and it’s a really nice idea, it’s really impressive and I’m proud of you and I think you should be proud of this product you’ve come up with. 

Now to come back to what you specifically asked me for which is the clinical psychology angle on what you’ve made. I guess maybe a principal question to address about it is whether or not re.veil 1 or 2 [respectively, Unit 2 project and second Unit 3 project proposal] have some kind of therapeutic value or provide a mental health benefit. The short answer to that is I don’t know and nobody can know so long are there isn’t an attempt to find evidence for that through a study, such as a randomised controlled trial. Otherwise no one can really give an answer to these questions. 

The long answer – if I want to look into the idea of a potential mental health benefit or therapeutic value – one of these elements that seem to be part of this idea in re.veil is the idea of catharsis. I think you mentioned catharsis in the presentation for re.veil 2 and the catharsis theory is a controversial one, this notion that by venting, people can dissipate an emotional state or cope with it better, it’s a theory that seems very prevalent in people’s intuition, in English you have a less technical word for catharsis people talk about “venting” and have the intuition that venting is a beneficial thing for our mental health. In clinical psychology, like the scientific angle on it, it’s not as popular and it doesn’t really have a presence. It does have a presence in psychoanalysis, Freud was the first psychoanalyst and there have since been Freudians, Yungians (…) and many schools of thought. What they all share in common is that they’re not like clinical or scientific psychologists which follow evidence and take a scientific approach. Interestingly that’s not to say that psychoanalysis is ineffective or useless but that’s a whole other conversation and I feel like I’ve digressed long enough.

Catharsis is, from that psychology standpoint, lacking in evidence that supports it or validates it and one example of a study I remember that tried to find evidence for the catharsis theory yielded the opposite effect. They found that people who exercised catharsis were not less angry, in fact, they were more angry and more aggressive. The reasoning as to why that might have been the case is that through catharsis, people are in some kind of way ruminating the emotional state and that doesn’t dissipate it, it continuously reproduces it in their minds which makes them continuously experience it and amplifies it rather than dissipate it or help them cope with it.

Anyway all that is to say that catharsis theory from a psychiatric and clinical psychology perspective, there isn’t evidence that it’s therapeutic and that it offers some kind of mental health benefit. But that’s not the only thing that there is in your project as it’s not after all an exercise of catharsis it’s not punching a punching bag or screaming or having a crying session, there’s a lot more to it, it’s a layered activity, this platform you’ve made and the card game. And in that there are other things which I will mention first: in re.veil 1 the website platform I see something very valuable in it which is this invitation for people to introspect and that introspection… there doesn’t have to be evidence for the benefits of introspection… it’s one of those things that you don’t need evidence for, it’s kind of like trying to show evidence for the value of reading – you don’t need to show evidence for the benefits of reading, anyone who’s read can easily speak to the vast difference between reading and not reading for example. It’s just something that goes beyond testing hypotheses. Obviously there is tremendous value in introspecting and the fact that this basically offers an opportunity to introspect is inherently valuable regardless of whether it has therapeutic  benefits, it’s a valuable thing and it’s also interesting in that if the archive is available for people to visit it’s a way for people to look at what experiences they share with anonymous strangers, it’s a nice idea for people to relate to strangers in feeling like they have shared experiences or similar experiences that’s as far as re.veil 1.

For re.veil 2 there is also a lot else to it, it’s a great tool to like connect to people more deeply and I personally would find that a great idea if I were to go out with someone on a few dates for example and if there was chemistry it would be a good idea to play this card game so that you get to know them better, or if you’re hanging out with a group all the time but you’re not really having much opportunity to connect deeply with them, you’re kind of just having fun with this group… it would be good to play the card game.

It’s a very nice card game, it’s very well designed and to bring this conversation to a conclusion, it’s a great idea there’s so many cool things about it to list, overall, it’s wonderful. The only way in which I feel like it might go wrong, which I don’t see to have been the case was that if re.veil 1 or were to take themselves too seriously as like therapeutic tools or some kind of like mental health intervention or something, but it doesn’t seem to be the case that it’s doing that from what you told me about it and what I’ve read about it and just from the optics of it it doesn’t seem to be taking itself too seriously in this way, which is why I think it’s just nothing but amazing and a very nicely done project and once again congrats on such a well put together project, it looks amazing.

B.A.A on re.veil

6. e. Learning Outcome (B.A.A)

B.A.A’s insight on the project and where it stands in relation to clinical psychology made sense – one cannot validate a theory without an experience. He, however, sees the value of introspection and the way that re.veil pushes towards it. Much like D.C, B.A.A pointed out that the project shouldn’t be seen as therapy or a replacement to therapy – that will be made clear.

Learning Outcomes

Interested in implementing professional advice and opinions into the design process, three field professionals were approached with a presentation that thoroughly presented de.code/re.code and its predecessor. The consensus was in favour of the game as a tool for healing and described it as an effective means to connect with oneself and other individuals. Two of the professionals stated that it would be important to disclose to the players that de.code/re.code is not a substitute for professional help and should instead be seen as a complement to therapy.

16. re.veil’s de.code/re.code forum submissions

The de.code/re.code forum is a community-driven space where players can share their answers, gameplay experiences and submit their own custom prompts.

de.code/re.code forum submission space

Here are the submissions at the time of writing, shared in chronological order:

de.code/re.code forum submission
de.code/re.code forum submission
de.code/re.code forum submission
de.code/re.code forum submission
de.code/re.code forum submission
de.code/re.code forum submission

Learning Outcomes

The final prototype garnered a positive response with some players even enquiring about the decks – distributing it will definitely be considered in the near future.

Categories
Unit 3

Unit 3 : Studio Methodologies/Research

I. Situate:

1. What is a Site of Practice (Week 29 Lecture)

Over the next week, pick case studies and identify their sites of practice. Examine details of culture, community (human and/or more-than-human), beliefs, legacies, external factors of time, resources, material agencies, current activities which all add to the shape, characteristics and continued potential of the sites of practice.

Site of Practice

  • a sphere of activity, interest, etc., especially within a particular business or profession: the field of teaching; the field of Shakespearean scholarship – dictionary.com
  • a space demarcated by individuals and their actions, institutions & debates” – Pierre Bourdieu (1977)

Milieu

noun, French

  • the conditions, scenery, etc, around a person, place, or thing; environment – dictionary.com
  • “milieu has neither beginning nor end, but is surrounded by other middles, in a field of connections, relationships, extensions and potentials.” – James Corner (1999) ‘The Agency of Mapping’ in D.Cosgrove (ed.) Mapping

Situatedness

  • Confronts conventions of history
  • Is subject to change
  • Challenges the idea of “normal”
  • Demands that knowledge (and data) is responsible
  • Have no beginning or end, but are connected to other middles (milieu)
  • Are spheres of activity and interest, informed by discourses, institutions and debates (field)
  • Find new possibilities in sometimes seemingly exhausted grounds
  • Engage with publics
  • What makes the behaviours of that site unique?

————————————————————–

Could the re.veil environment / site of practice be described as:

  • a video game?
  • a digital environment?
  • a shared digital environment?
  • childhood bedroom?

Where/how/when? The project is to be staged somewhere (culture/history/events)

2. Site of Practice : Immersion Tasks (Week 29 Task)

Surprisingly This Rather Works and situatedness:

  • Challenges and even breaks the conventions of an exhibition
  • Brings a new possibility to exhibition
  • Is placed in a virtual extension/iteration of a historical site
  • Brings forth new means of engagement and interaction
  • Contrasts old knowledge to new knowledge by pairing up new technology (VR) with a historical site

3. Position your Practice (Week 30 Lecture)

The group session started with a show and tell of our Unit 2 portfolios. the discussions

Research team outcomes:

Despite occupying varying grounds, common attributes between projects could be found – they are highlighted on the above document.

Two-line scenario project exchange outcome:

Unit 2 Feedback Tutorial Notes:

  • Pleasantly surprised
  • Sequentially building up
  • All really positive
  • Parameters could open up and be taken further
  • =/= therapeutic methods to make sure it’s authentic and rigorous
  • Graphically confident
  • Looks like it could work IRL
  • How to go deeper
  • RS w/ contributors
  • The ideas found a natural home
  • The objects only relate to you
  • Skilled up – where can this go?
  • Staging project – thinking of audience
  • Very good body of work
  • Specificity of what these things do / what they add
  • Technical competency
  • Potential options could have been shown

II. Perform:

1. Perform Lecture 1 (Week 31 Lecture)

  • Work with partners
  • Think of how the project manifests itself ‘outside’ (i.e. outside the university context)
  • Unit 3 work is outwards facing through sites, networks and communities
  • How to connect project
  • Don’t hold back / try things out
  • Connections between physical and virtual space?
  • =/= parameters, what can I do with these?
  • Site – resources – dig them out and bring them to foreground
  • What new possibilities of the project have emerged?
  • What are the resources/characteristics/culture/
  • How to open up the possibilities to the next stage.
  • Does it collaborate with something that exists already?
  • Design is mutable, reacts to its surroundings, site of practice (it doesn’t just live in it) / liable to change / varying
  • Design is never static, it updates and fluctuates
  • As designers, we are charged with bringing new ideas forward
  • World; constant multiplicity

Prototype:

  • Original / primitive form / an individual type that exhibits the essential features of a later
  • “Proto” (first in time)
  • Suggests there’s a sequence
  • Gives the opportunity to generate/share new knowledge

Paratypes

  • We’ve separated utility from everyday living
  • “Para” (side by side)
  • Several objects placed side by side with one another

Situatedness of the Site

  • Ideate: implement research into practice, scenario making, modalities of engagement
  • Show evidence of something you’ve observed + how it affects the practice

How is the project evolving?

Tutorial notes

  • Game – could it be configurable?
  • Generational divides / deeper connection
  • More capacity as a culture to expand
  • Tech facilitations
  • Radio vs phone: =/= capacities within the game
  • Facilitating examining one childhood
  • Childhood: identity formation
  • General audience
  • Fixed in a moment of time
  • Want people to feel like it’s their bedroom
  • Reconfigure environment
  • Identity building
  • Childhood bedroom: microcausm
  • Confess in public

Initial prototype (notes)

re.veil is expanding. it’s taking on expansive forms and is relating itself to personal experiences.

VR is a way that re.veil could transpose itself into various locations, particularly those that house marginalised populations. it could push the project into a more personal and immersive direction.

  • Multiverse
  • 1st person POV game
  • Experience several places at the same time

While the Unit 2 project focused on the re-visited childhood bedroom, this Unit’s project will be less ‘private’ (website) and will be taken out in the open; this will give it more humanity. In a way or another, people will get to visit each others’ bedrooms.

Framework:

  1. Let it out
  2. Find sustainable solutions
  3. Build a community

2. Perform Lecture 2 (Week 32 Lecture)

  • What is it? What does it mean?
  • How does your performance perform?
  • Performance art =/= Happening
  • Performance art: artworks that are created through actions performed by the artist/other participants, may be live, recorded, or scripted
  • Happening: forerunners of performance art environment, something new, with the intention of performing something, breaking down the 4th wall between performer and spectator

K.P.I : Set of quantifiable measurements to gauge a company’s overall long term performance

Build a trusted system you can go back to.

Gives a framework to evaluate if you’re meeting certain goals

Performance : Identity – if anything, re.veiling is halting that performance.

3. User Effects (Week 33 Meeting and Tasks)

  • Shared values
  • Commonalities between projects
  • Prospects of exhibition
  • =/= parts of the world
  • =/= formats
  • =/= places
  • Transnational theory
  • How does design move?

III. Curate:

4.a. Prototype Progress (Presentation Stage)

(For section 4.b)

5. Studio Feedback (Week 35 Tutorial)

In order to fulfil the project’s needs:

  • The website has to be developed (could be in the form of a forum where individuals input their answers)
  • One must consider the way in which the answers are captured: much like the first iteration of re.veil could they serve as, both, a point of reflection in the moment, as well as a repository for other means?
  • The project must be prototyped and tested further
  • Relevant practitioners must be researched

(For section 6)

7. Question Bank

The initial bank of questions was developed over the span of a few months. Upon further deliberation it seemed that cards would be a fitting format for the game and that the deck would have around 150 cards – setting those numbers helped narrow down the amount of questions per basic emotion.

Updated bank of questions:

8. Visual Language Experimentation

re.veil 2 will take on a more retro-futuristic look; its futuristic elements will aim to represent forward thinking.

Over the years, holograms have managed to maintain a futuristic feel while simultaneously being reminiscent of the early 2000s, a time when their mystique took the world (and cinema productions) by storm.

Interested in their potential implementation in the project, they were digitally created using Blender.

Blender Nodes Experiment

Wanting to create a visual language that maintains re.veil’s flare and that further reflects introspection, a Blender model of a face was combined with the holographic screen:

That animation, in itself, greatly informed the visual language of the cards.

Interested in using a typeface that reflects retro-futurism, I relied on the CondorWide font in black italics. While the mix of thin and thick lines amplify the retro feel by giving it an art-deco look, the all-caps italics lettering offers the typeface its futuristic counterpart.

The name (and logo) was conceived by layering two words: de.code and re.code. de.coding is the idea of decrypting one’s emotional phenomenology and understanding it in order to re.code it in a way that enhances one’s lived experience.

The colour palette was quickly decided to contain the holography blue.

9.a. Makers Meeting (Eddie Niles)

This meeting with Eddie entailed finding ways to get a card game printed. After a thorough presentation of the project and its precedents, Eddie confirmed that the making would be possible and redirected me to the relevant resources.

9.b. Tutorial (Week 37)

Game rules

After showing an update of the bank of questions and rules, the questions that proceeded the tutorial were as follows:

  • What will the wildcards do?
  • How will the win/lose be framed as an act of generosity instead of a personal gain?
  • Would a more minimalist aesthetic be more fitting for a theme surrounding mental health?
  • Could this design language be justified?
  • How will the wildcards be differentiated from the question cards?
  • What are the questions that you can ask people after the experience?

I was then advised to print out several card and instruction prototypes and test them out.

10. Group Presentation & Feedback (Week 37 Tutorial)

Interested in maintaining the nostalgic feel of a classic playing card, the design included some decorative elements that are reminiscent of those classic decks. The black and white colours were chosen to represent the good and the bad, as were the symbols that dwell by the corners of the cards in the very first iteration.

The figures are covered by a see-through screen which represents the distance between the individual and their true self.

While the back of the card depicts a front-facing figure that’s overlapped by a holographic skin, the back of the cards represent a back-facing figure.

The week 37 workshop asked us to bring the final prototypes of our work. My display included two iterations of the cards:

Horizontal cards
Vertical cards

The feedback:

Group Feedback
  • “Horizontal cards are very appealing & innovative. I would definitely play it with people I want to get to know better. Will be a cathartic experience.”
  • “The visual languages are pretty cool as I can see a bit of the futurism (?) and creativity. But in terms of the colours, I would say that you can use the fluorescent green as the main colour for the card game. It’s easy to rad and I like the way of expressing different emotions with the card games, which is lovely and effective.”
  • Visual language is compelling. I could also see it being stripped back + simpler? Do you ned the human figures? Pragmatically I think the (portrait cards) > (landscape cards). I would play you for sure, I think the idea is great. Just think about whether introspection requires a human face – does it have colour? 3D? 2D?

11. Website developments and production

Much like its predecessor, de.code/re.code needs to maintain its Internet presence. Interested in creating an environment that’s as interactive as it is inviting, I knew that animations and visuals would be important components of the website. That’s when the Forum section of the re-veil.net website was born. Further visual and typographical experiments took part.

After reaching out to several technicians within and outside of the university, the experts at Tadberry Everdale that Eddie had suggested had gotten back to me and confirmed that they were able to print the cards. That’s when the conversation regarding the production started; hundreds of back and forths had yet to be exchanged.

12. Card Iterations (Week 39 CRP submission and tutorial)

Wildcards accompany the question cards and create further engagements between the players. They are split between two genres: +cards and in-game cards. Whilst +cards (pronounced ‘plus cards’) are given in addition to a question card, in-game cards are standalone wildcards that are given to another player on their own.

The cards have witnessed a progression–here’s the journey:

First Iteration
CRP submission iteration which includes the two kinds of wildcards

The latest iteration of the cards include three kinds of visuals that differentiate the deck’s components.

The question cards‘ visual changed to a human figure that is reaching out and looking at its hand. Its figure is outlined with a holographic skin which symbolises self-discovery.

The setting cards (then called in-game cards) affect the physical setting in which a round is played. They are represented by a visual of two faces that are connected at the head by a holographic skin. The “@” symbol was chosen as those interactions bring the players back to the space in which they’re playing in and prompt them to task one another.

The +cards are represented by a phone as they usually call for the use of phones to further communicate and connect with others.

The revised cards were proposed in the tutorial. The feedback was the following:

  • The text needs to be centered
  • The typeface might be too wide – the vertical height is not used. Playing with leadings or fonts with more heights might be useful.

13. Further developments, printing and group presentations (Week 40)

In terms of card dimensions, I decided to choose a size that was similar to that of a classic playing card: 89x64mm

The cards had to adopt a new form that would aid in differentiating them from one another.

An array of bold 3D renders of each of the cards’ respective symbols overlap the existing visuals. Some of the decorative elements were stripped back, revealing a simpler, bolder and more concise card.

The wildcards were also worked on for the production.

After some back and forths with the experts at Tadberry Everdale, the document set up was agreed upon. 16 PDFs each containing 20 artboards were sent to the technicians.

Simple paper prototypes were printed for the group presentation using those PDFs and constituted the most physical iteration of the game to date:

A couple of rounds were played and some interesting conversation was sparked between some classmates and I.

14. Finalising productions (Week 41)

The workload this week was focused towards getting the production completed. After receiving the cards, I asked the technicians if they were capable of providing me with a box as well as a brochure for my game.

The completed cards

After some conversation, I was shown a fold-out brochure that they had completed for another client – I then knew that the format would work best for my project.

I was given one of those samples home and I morphed it to fit the brochure’s format and content:

As for the box, we agreed that we could conceptualise a box that was similar to one I had on hand – that of a classic playing card deck. The de.code/re.code card box would however have a much larger capacity.

Creating a filter was another way to share the questions to a wider audience. Distributing the filter to Meta apps required several preliminary steps:

  • Learning how to create a random selection filter on Spark AR
  • Modelling the card on Blender with correct dimensions
  • Creating the fronts and backs of the cards and optimising them as much as possible
  • Creating a UV shader in the required shape on Blender
  • Exporting the UV shader to Adobe Photoshop and reshaping the optimised images following the shader’s dimensions
  • Exporting those images back to Blender and using the Node system to shade the modelled cards with the images
  • Setting up the scene and rendering the images
  • Importing the images of the 3D cards to Spark AR and using the nodes system to generate the filter

Around two dozen cards were modelled using some of the key questions from the bank. Meta had to approve the filter prior to its distribution and I was asked to submit three items:

  • A video of myself trying the filter (using a temporary Instagram link that allowed me to use the filter prior to its release)
  • A square icon with imagery relating to the filter
  • The effect as an .arexport file

The filter was approved very quickly and has since been viewed over 4k times at the time of writing.

Filter Insights
Audience data

The brochure was completed following the prototype:

Creating the 3D cards for the Meta filter inspired me to create another Blender animation. The demo entailed playing with scale, rotation and location as well as the Blender camera. The background music was created using Logic Pro and offers the short video a catchy tune.

The brochure and the box were completed prior to when I had expected it. I headed to the photography space to photograph them.

15. Graduate Experience and final touches (Week 42)

The de.code/re.code website was among the last few components that was pending completion. The website serves as a space that

  • Explains the premise of the game
  • Hosts a demo video of the instructions
  • Offer the players a space to share their experiences with gameplay in the form of a forum

The website contains a number of visuals, interactions and sections:

A website navigation video can be accessed via YouTube here and thee Demo can be accessed on YouTube here.

Interested in implementing NFC chips and getting ahold of a pack prior to the summer break, I found a way to incorporate them in my project. Guided by Eddie, I create a sheet of stickers that would be a couple of mm larger in diameter than the NFC chips and that could be used to easily access the website.

In terms of the graduate showcase, the key images of my project images have been uploaded in the respective spaces within the Web Showcase Drive.

(For section 16)