ART DIRECTION
Case Study
The projects
Genting Skyworlds, formerly known as Fox Malaysia, is a mountaintop theme park nestled in Genting Highlands, Malaysia, approximately 2,000 meters above sea level. This expansive park features over 20 rides and attractions that immerse guests in the worlds of popular films like Epic, Robots, Rio, and Ice Age, among others. Spanning nine distinct themed worlds, it delivers a diverse range of entertainment and thrilling experiences.
Hub Zero, situated in Dubai’s Satwa area, was a premier indoor gaming destination covering a site area of around 21,500 square meters and a construction area of 16,000 square meters. This family entertainment centre (FEC) boasted a vast arcade and theme park offering cutting-edge gaming adventures inspired by major gaming franchises such as Battlefield (Electronic Arts), Resident Evil (Capcom), and Gears of War (Microsoft), alongside numerous exciting rides and attractions. The park also featured various cafes, dining options, and retail spaces throughout.
Client
Skyworlds Genting Highlands, Malaysia – Hub Zero, Dubai
Categories
Show Set Design, Art Direction, Graphic Design
Date
2015, 2017
Rides
ETF interactive dark ride, dynamic attractions flying theatre,. Laser-tag, soccer simulator, 3-screen car simulator, laser gun, Kid’s karting simulators, 3D immersion tunnel, 4D cinema, indoor adventure climbing zone, LAN gaming area with 70 stations and private booths, billiard tables, karaoke rooms
My role
As an Art Director, once the schematic design wraps, I step into my role as the “vision-keeper,” charting the visual course and defining all the show’s elements details, colours and materials. I collaborate closely with our talented internal team and external partners to bring this vision to life, meticulously reviewing shop drawings and ensuring seamless tech integration.
Out in the field, I take the lead in overseeing and directing the creation of all on-stage elements – from architecture and scenic art to scenery, props, animation, show action, special effects, and lighting. My focus is to ensure every piece aligns perfectly with the Creative Director’s original intent. When the budget allows, I might even guide the installation phase.
Throughout the project, I also serve as the main point of contact, fostering strong relationships with internal teams, external vendors, licensors, and intellectual property developers. This ensures client satisfaction and secures their approval at each project milestone.
Defining material and colours
For each element, I built upon the initial sketches, illustrations, models, and composite imagery from the schematic phase by developing detailed drawings, including elevations, sections, and isometric views. I also meticulously specified all materials and colours. To further support and clarify the design direction, I compiled comprehensive image research.
Out in the field, I collaborated closely with the team to pinpoint the most effective techniques for realising the design vision.
Drawing details
Detailing designs demands a deep understanding of colour theory, art history, scenic painting techniques, sculpture, architecture, perspective, theatrical lighting, and the art of storytelling.
Crafting the mouldings for the magic portraits was a true passion project, brought to life with exquisite skill by our vendors.
Mock-ups for IP approval
A crucial aspect of my role involves collaborating to define and then directing the creation of mock-ups and samples. For the Plants vs. Zombies project, where all elements originated in the digital realm (it’s a video game, after all!), I partnered with a vendor to develop the cutting patterns for two characters, transforming them into tangible bean bags. My initial approach involved a low-tech experiment using calico fabric.
Overseeing and directing fabrication
One of the most rewarding aspects of being an Art Director is overseeing and guiding the fabrication process. Here are some photos illustrating the journey from initial carving to the final, installed elements.
Designing graphics
Frequently, I design graphics for various applications, including scenery, backdrops, and regulatory signage, and I produce all the artwork for printing. For instance, in Double-Agent, our laser maze game where you can live out your spy/thief fantasies by navigating laser beams to reach your objective, the server room is actually a large-format graphic, printed and applied to the wall with precise cutouts for the lasers.
Photos credits to the respective authors