Major Project I | Project

23/4/26 - 29/7/26 (Week 1 - Week 14)

Kimberly Miaw Jya Nee | 0366836

Bachelor of Design (Honours) in Creative Media | Taylor's University

Major Project I

Project

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Table of Contents

1. Instructions

2. Project

   Final Compilation

3. Feedback

4. Reflection

5. Further Readings

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Instructions

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Project

Major Project 1 is a self-directed module where we work on our graduation project based on our chosen specialisation. We had an assigned lecturer to guide us throughout, but the direction, decisions, and execution were entirely up to us. We also had the option to work individually or in a group, and I chose to do it individually.

This module runs alongside its continuation, Major Project 2, which takes place in the following short semester. Both modules are part of the same ongoing project, so whatever is build in MP1 carries directly into MP2.

For Major Project 1, we were given a proposal brief that outlined the expectations for the semester. It covered everything from defining our project concept and problem statement, to setting objectives, identifying our target audience, analysing existing work in the field, and developing our initial design direction. We were also expected to plan our development schedule through to Major Project 2. Essentially, MP1 is where we lay the full groundwork for the graduation project, from research and ideation all the way to early design development.

Process Work

While trying to decide on a direction for my graduation project, I was choosing between doing a brand identity project with an original character, or something publication related. Then I suddenly got the idea to continue my Advanced Typography final project, which was a set of North Borneo motif inspired typographic ornaments. From there, I thought it could be interesting to develop those traditional motifs into a full collection and present them in an ornament specimen book, something like a coffee table book.

After consulting with Ms Anis though, she suggested that I could do something like a zine kit instead, which would be more suitable if I wanted to make it more engaging especially for younger audiences. A zine kit still maintains the publication aspect, but also gives me room to add additional companion items alongside it. It is also a similar idea to the snail mail trend which has been popular recently.

What My Project Covers

• Branding: wordmark, colour palette, and typography system for the Tadau series
• Typography: two themed ornament sets, Huminodun and Unduk Ngadau, built on a structured pixel grid system, to be released as a downloadable ornament font
• Publishing: editorial layout and original written content retelling the story of Huminodun and Unduk Ngadau
• Packaging: folded envelope and belly band based on the Unduk Ngadau sash design, containing a themed postcard, washi tape, and limited series collectible card
• Digital Presence: Instagram and microsite serving as lookbook and shopfront (MP2)

Huminodun Themed Typographic Ornament

I started with the Huminodun themed ornaments first, which has 4 designs in total:

1. Huminodun Figure
2. Paddy Field (carried over from Advanced Typography)
3. Paddy Stalk
4. Roots of Plant

Since Huminodun is a mythical figure, there is no accurate depiction of how she looked, so I referenced photos, films, and artworks that are based on her. She is typically depicted wearing traditional Kadazan attire, which I used as a starting point for the figure ornament. For the paddy stalk, I referenced a close-up image of a paddy grain, taking note of its structure before adding leaves on either side. The roots ornament followed a similar approach, using a real plant root structure as reference. It was probably the trickiest one to design since I wanted to capture the natural, flowing quality of roots within the constraints of a pixel grid.

Fig. 1. Process of Designing Huminodun Body Ornaments

After finalising the body ornaments, I moved on to designing the matching top and bottom ornaments for each element. Since the body ornaments are already quite detailed, I kept the top/bottom versions simpler by comparison.

Fig. 2. Process of Designing Huminodun Top/Bottom Ornaments

The Huminodun top/bottom ornament features a sun symbol, drawn from descriptions in the stories I read where she is often referred to as "as radiant as the sun." The paddy stalk shares the same sun symbol too, which is to represent the idea that the paddy grows under the sun. The roots ornament took a different approach, where the top and bottom act as a continuation of the root that completes the full structure once all the ornaments are arranged together.

Unduk Ngadau Themed Typographic Ornament

The Unduk Ngadau ornaments follow the same process, designed one by one. There are 4 in total:

1. Unduk Ngadau Figure
2. Sun
3. Himpongot — Coin Belt
4. Pinakol — Beaded Necklace (carried over from Advanced Typography)

The female figure is actually one of the first ornaments I designed for MP1. Before settling on this theme, I was working on a Magunatip themed set, which is a traditional bamboo dance. The dancers also wear traditional Kadazan attire, just with a different headpiece. When I switched themes, I reused the female dancer base and modified the head instead of starting from scratch. Unduk Ngadau contestants are typically recognised by their distinct hair, styled into a neat bun updo, which is what I referenced for the figure.

The sun ornament is more abstract in comparison. I referenced the sun and star motif found on Kain Dastar, a traditional textile commonly used to make the iconic male headpiece called Sigah. The Himpongot, which is the coin belt worn as part of the traditional female attire, was probably the trickiest ornament in this set. I managed to fit two coin pieces into the design, and they connect visually as you stack the ornaments on top of each other.

Fig. 3. Process of Designing Unduk Ngadau Body Ornaments

The Unduk Ngadau figure shares the same sun motif in its top and bottom ornament, since Unduk Ngadau means something along the lines of "crowned by sunlight." The sun ornament itself is already quite detailed as a body ornament, so I kept its top/bottom version simple. The Himpongot top and bottom ornament follows a similar approach to the roots, acting as a continuation of the body ornament so the full coin belt reads as one complete piece when stacked together.

Fig. 4. Process of Designing Unduk Ngadau Ornaments

Lastly, the Unduk Ngadau set also includes 3 divider and 3 central or corner ornaments. The sun divider and central/corner ornaments are new additions designed for this set, while the remaining ones are carried over from the Below the Wind ornament set. The overall theme for the dividers and central/corner ornaments is inspired by traditional textile motifs.

Fig. 5. Process of Designing Unduk Ngadau Divider and Central/Corner Ornaments

Born From Harvest: Typographic Ornaments

For Major Project 1, this is my typographic ornament collection for the first issue of the zine kit. It will be further refined and expanded, then imported into Fontlab before heading Major Project 2.

Fig. 6. Born From Harvest: Huminodun & Unduk Ngadau - Typographic Ornaments

Born From Harvest: Zine

Once I completed the ornaments, I moved on to working on the zine. I started by reading different sources on the story of Huminodun and found that while the core storyline is mostly consistent across sources, some go into more detail. One interesting detail I came across was that the famine in the story was actually caused by Huminodun's brother, which is what set everything in motion in the first place.

For the zine, I decided to tell the story in short, bite-sized sections rather than long paragraphs, with each ornament introduced alongside the part of the story it represents. This way the reader can see the significance of each ornament as the narrative unfolds. From there, the story naturally ties into Unduk Ngadau and how the pageant connects back to Huminodun's legacy.

Storyline Draft:

1. Huminodun figure ornament 

This is the story of Huminodun, the daughter of Kinoingan, the creator god of the Kadazan people. She was said to be gentle, beloved, and full of grace. 

2. Paddy field ornament

But her people were suffering. The land could not produce enough to feed them, and famine was setting in. Her father searched for a solution, but there was only one way forward. 

3. Roots of plant ornament

Huminodun made the choice herself. She offered her own body to the earth so that her people could live. Where she was laid to rest, the first crops began to grow. 

4. Paddy stalk ornament

From her came the padi, the rice that the Kadazan people have depended on ever since. It is said that every grain carries a piece of her spirit. To waste rice is to forget what it cost. 

5. Unduk Ngadau figure ornament

To honour her sacrifice, the Kadazan-Dusun people celebrate Tadau Kaamatan, the harvest festival, at the end of every May. It is a time of gratitude, of music, and of coming together. 

6. Sun ornament

As part of the celebrations, a titleholder is chosen and named Unduk Ngadau, which means crowned by sunlight. She is not just chosen for her appearance, but for the grace and spirit she carries, as a living embodiment of Huminodun. 

7. Himpogot ornament

She wears the traditional Kadazan dress, including the Himpogot, a handcrafted coin belt that has been part of the culture for generations. Each piece of the outfit is intentional, nothing is purely decorative. 

8. Pinakol ornament

The Pinakol necklace completes the look. Its patterns have been passed down through families long before they were ever documented, kept alive the same way Huminodun's story has been, through memory, celebration, and the people who choose to carry it forward.

Zine Table of Contents:

1. Introduction
2. Kadazan-Dusun Culture
3. Author's note
4. The story of Huminodun and Unduk Ngadau
5. Full ornament set showcase
6. Visual glossary

Final Compilation

Fig. 7. Proposal Presentation (PDF)

Fig. 8. Born From Harvest Typographic Ornaments

Fig. 9. Born From Harvest Zine (PDF)

Fig. 10. Final Presentation (PDF)

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Feedback

Fig. 11. Project Management Document (PDF)

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Reflection

Experience

I quite enjoyed working on this module, and I'm glad I landed on an idea that I'm genuinely interested in. That interest made a difference by motivating me to keep working on it rather than dreading it the way certain projects do. Being able to bring something personal into my work gave me another reason to put my whole heart into it.

Observation

Overall, I do think there are still many things to refine. I believe I could produce a stronger outcome than what I have now, but given the time constraints and the workload of balancing multiple modules, this is the best I could deliver for this stage. Now that foundation is there, I'm looking forward to push it further in Major Project 2.

Findings

Working on a culturally themed project taught me that you cannot just take what you see visually and reinterpret it without understanding the meaning and significance behind it. When working with a culture that is rich in history but not widely known, thorough research is not optional.

I sometimes also found myself questioning whether I was appreciating or appropriating the culture, and whether I even had the right to be telling this story. But I have not seen much representation of Kadazan culture in design school or academic settings, and that is exactly why I think it matters. I'm just glad to be able to contribute something, even if it's small.

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Further Readings

Huminodun
https://en.wikipedia.org/wiki/Huminodun

https://litopia.com/laura-rikono/huminodun-a-borneo-legend/

Unduk Ngadau

https://ms.wikipedia.org/wiki/Unduk_Ngadau
https://www.sabahtravel.com/articles/post/what-is-unduk-ngadau-meaning-history-and-how-to-experience-it-during-kaamatan

Performing Rice Farming Rituals by Penampang Kadazan of East Malaysia: Between Sacred Ritual and Secular Performance
https://jati.um.edu.my/article/view/6208

Thank You