Visual Direction

The visual direction became clearer through the group’s Miro board and WhatsApp discussions. The references included Belladonna of Sadness, hand-drawn animation, character design and pearl-related costume imagery. These references showed me that the work would not be realistic or fast-paced. Instead, it would be emotional, symbolic and atmosphere-driven.

One important thing Cindy explained was that the animation would be mostly hand-drawn. This changed my sound approach because hand-drawn movement often has a softer and more fragile rhythm than digital animation. I did not want the sound to overpower the visuals, so I started thinking about subtle textures rather than heavy musical gestures.

The pearl imagery also became important. In the character design, pearls appeared as decoration, but also suggested fragility, femininity and pressure. This helped me understand pearls as more than a visual object. They could become a sound material connected to repetition, small details and emotional tension.

This stage was part of my research process. I was not just collecting references, but translating visual images into possible sound qualities. The visual direction helped me build a sound palette before starting the first demo.

Miro board references shared by the group, including Belladonna of Sadness, hand-drawn animation and experimental visual material.

Character design and pearl necklace reference, which helped me understand pearls as symbolic rather than purely decorative.