IRAMA ARTBOOK (Em)

PRODUCED BY THE ART OF

THE ART OF IRAMA. JULY 2026. FIRST PRINTING. © 2026 BMA Studio. All Right Reserved. Irama, and all related titles, logos, and characters are trademarks of BMA Studio. Any similarities to persons living or dead are purely coincidental. With the exception of artwork used for review purposes, none of the contents of this publications may be reprinted without permission from BMA Studio. Special thanks to Dr. Mohd Ekram Al Hafis Bin Hashim for his supervision, support and valuable feedback. Emily / Ng Ying Hui, Art Director Wan Nur Azizah Binti Zahari, Background Artist Diyana Binti Saiful ‘Adli, Storyboard Artist Marina Binti Munawari, Lead Animator Remy / Muhammad Aliff Bin Rahmatuliladin, Editor Produced by BMA Studio Written, designed and complied by BMA Studio

FOREWORD INSPIRATION THE STORY EARLY IDEAS CHARACTER DESIGN STORYBOARD VISUAL DEVELOPMENT LAYOUT & BACKGROUND POSTERS ANIMATION MARKETING & PROMOTION MERCHANDISE STANDEES MEET THE TEAM BEHIND THE SCENES FANART TABLE OF CONTENTS ............................................................................... .............................................................................. ................................................................................ .............................................................................. ...................................................................... ............................................................................. ................................................................... .................................................................. ................................................................................... ............................................................................... .............................................................. ............................................................................ ................................................................................. .......................................................................... ..................................................................... .................................................................................... 6 7 8 12 18 22 32 40 46 52 64 70 76 80 84 90

A NOTE FROM THE CREATORS Every animated film begins with a single idea, but bringing that idea to life is a journey shaped by imagination, collaboration, and perseverance. IRAMA began as a simple concept inspired by the quiet relationship between humanity and nature, gradually evolving into a story about empathy, coexistence, and the unseen rhythm that connects all living things. Along the way, sketches became characters, paintings became worlds, and countless ideas grew into the film you see today. Creating IRAMA was more than a production process—it was a journey of exploration and discovery. Every stage, from the earliest concepts and storyboards to visual development, animation, and promotion, challenged us to think creatively, solve problems, and grow as artists. Through collaboration and a shared passion for storytelling, each member of the team contributed their unique skills and perspectives, helping shape a world that reflects our collective vision. This art book documents that creative journey. Rather than showcasing only the final artwork, it offers a glimpse into the ideas, experiments, revisions, and moments behind the scenes that played an essential role in bringing IRAMA to life. Each page reflects not only the evolution of the film but also the dedication, craftsmanship, and teamwork that made its creation possible. Whether you are an artist, an animation enthusiast, or simply curious about the creative process, we hope these pages inspire you to look beyond the finished film and appreciate the stories behind its making. Thank you for joining us on this journey, and welcome to the world of IRAMA. FOREWORD

INTRODUCTION WHERE TRADITION FINDS A NEW RHYTHM As part of our Final Year Project, our cohort was given the theme CultureByte as the central concept. This theme explores the fusion between cultural heritage and modern digital media, where “Culture” represents tradition, identity and storytelling, while “Byte” reflects the tools, technologies, and creative platforms of the modern digital age. Under this framework, our short film animation project IRAMA seeks to reinterpret the cultural inspiration through animation, blending traditional musical elements with contemporary visual narrative. It is through this balance of heritage and innovation that we aim to create a story that resonates with both emotional depth and modern artistic expression. IRAMA follows the journey of a young boy and his encounter with a mystical forest creature, where music becomes a universal language that bridges curiousity, emotions, and connection. Through this narrative, we explore how rhythm and sound can transcend words, echoing the essence of CultureByte in a form that is both imaginative and culturally grounded.

8 PRE-PRODUCTION INSPIRATION The world of IRAMA was shaped by a collection of inspirations drawn from nature, storytelling, and Malaysian culture. Lush rainforestsnative wildlife, traditional art, and folklore served as the foundation for many of the film’s visual and narrative ideas. Beyond local influences, animated films, illustrated storybooks, and the works of artists who celebrate the beauty of nature encouraged us to pursue a visual language that feels both whimsical and grounded. Rather than recreating these influences directly, our goal was to reinterpret them into a world uniquely our own. Every reference became a starting point for experimentation, allowing the film to develop an identity that balances fantasy with familiarity. Through this process, IRAMA became a celebra- tion of imagination rooted in the landscapes, stories, and rhythm that continue to inspire us.

11 The creative vision behind IRAMA has been shaped by the animated films, series, and artists that have inspired me throughout the years. I have long admired the storytelling and craftsmanship of studios such as Cartoon Saloon, along with works like Hilda, Gravity Falls, Spiritfarer, and Steven Universe. Their ability to create worlds that feel both magical and deeply human left a lasting impression on me, influencing not only my appreciation for animation but also the kind of stories I aspire to tell. What resonates with me most about these works is their balance of wonder and sincerity. They explore themes of family, friendship, identity, and our relationship with nature through expressive visuals, memorable characters, and emotionally driven narratives. Over the years, I found myself returning to these stories not only for inspiration, but also to study their artistic direction, visual language, and approach to worldbuilding. They became a constant source of motivation throughout my own creative journey. Rather than replicating their styles, these influences encouraged me to discover my own artistic voice. IRAMA reflects the lessons I have learned from the works I admire while embracing my own experiences, cultural background, and passion for Malaysian storytelling. In many ways, this film is both a tribute to the artists and studios that inspired me and a step towards creating something uniquely my own. - EMILY

12 PRE-PRODUCTION THE STORY At its heart, IRAMA is a story about listening—not only to one another, but also to the natural world that quietly exists around us. The film follows Aslan, a curious young boy whose encounter with a mysterious forest creature named Irama challenges the way he understands the world. As their unlikely friendship grows, both characters begin to discover that trust, compassion, and understanding can bridge even the greatest differences. While the story unfolds as a fantasy adventure, its themes reflect real-world relationships between humanity and nature. Through moments of wonder, uncertainty, and discovery, IRAMA encourages audienc- es to appreciate the delicate balance between progress and preservation, reminding us that every living thing shares the same rhythm.

16 THUMBNAILS PROPOSAL Villagers telling the story of “Hantu Hutan” that lives in the shadow of the forest through Wayang Kulit perfomance The earphones get pulled out and music suddenly plays out loud. In the shadows hides the creature who is mesmerized and amazed by the music and rhythm Creature freezes then softens and slowly starts to sway and move to the rhythm of the music. So, it stole an old radio and other audio electronics to enjoy the music in its cave The boy was curious and starts to bond through dancing, singing, “acting” like a musical. 1. 2. 3. 7. 8. 9.

17 Then it starts to steal cassette players, MP3 players, phones and other music related electronics The sun was setting and the boy realised he have to go back to the camp. Decades later, it was stealing another phone in a camping area, but the owner - a kid notices and chases after the creature They were sad to say goodbye, the boy hesitates before deciding to give the creature their phone, hugs and run away. The boy caught up with the monster, they tugged on the phone with wired earphones. The creature, teary-eyed, smiles, slowly puts the earphones back on and starts playing the music before returning to the forest. 5. 10. 11. 12. 6.4. EMILY - DIGITAL

18 PRE-PRODUCTION EARLY IDEAS Every film begins with exploration, and IRAMA was no exception. Before the story reached its final form, countless sketches, notes, and concepts explored different directions for the narrative, characters, and world. Some ideas were ambitious, while others were quietly set aside as the project gradually revealed its strongest emotional core. Although many of these early concepts never appeared in the finished film, they played an important role in shaping the final result. Experimentation allowed the team to ask questions, challenge assumptions, and refine ideas until the world of IRAMA felt authentic to the story we wanted to tell.

20 BUTO BABRAH NIAN (CHINESE MYTHOLOGY MONSTER) CHARACTERS FROM CARTOON SALOON FILMS WAYANG KULIT CHARACTERS FROM ADVENTURE TIME

21 The earliest character explorations for IRAMA were guided by a combination of cultural references and contemporary animation. During the conceptual stage, the team studied traditional folklore alongside animated works to establish a visual language that felt both familiar and original. For Irama, inspiration was drawn from the Buto Babrah of Javanese tradition wayang kulit and the Nian from Chinese mythology. These mythical figures were explored for their expressive silhouettes, symbolic presence, and larger-than-life personalities, serving as a foundation for designing a creature that feels ancient, mysterious, and deeply connected to cultural storytelling. Rather than directly adapting these figures, their visual characteristics were reinterpreted to create a unique creature that embodies the spirit of IRAMA. The relationship between the main trio was also influenced by the dynamic found in Adventure Time. The sense of companionship and playful chemistry between Finn, Jake, and BMO inspired the early concepts of Aslan, Irama, and the robotic companion. While their personalities and appearances were developed independently, this relationship encouraged the creation of characters whose interactions feel natural, heartfelt, and full of curiosity. In developing the overall character style, the team looked to Song of the Sea and the works of Cartoon Saloon for inspiration. Their simplified shapes, expressive silhouettes, and painterly aesthetic demonstrated how character design can communicate emotion with elegance and clarity. These influences encouraged a stylised approach that complements IRAMA’s themes while allowing the film to establish its own visual identity rooted in Malaysian culture.

22 PRE-PRODUCTION CHARACTER DESIGN Designing the characters of IRAMA involved more than creating appealing silhouettes—it required understanding who each character was before deciding how they should look. Every shape, expression, costume, and colour choice was carefully considered to communicate personality, emotion, and purpose. The contrast between Aslan’s familiar human- ity and Irama’s mysterious presence became central to establishing the film’s visual identity. Throughout development, numerous iterations explored different proportions, expressions, and design languages before arriving at the final characters. Each revision brought greater clarity to their personalities, ensuring that audiences could understand them not only through dialogue, but through their appearance and movement alone.

24 Where Courage Meets Curiosity BRINGING ASLAN TO LIFE EMILY - DIGITAL EMILY - TRADITIONAL ALIFF - DIGITAL

25 A music lover at heart, Aslan is eager to experience melodies and rhythms wherever they may be found. From cultural events and music camps to the quiet corners of the forest, his curiosity often leads him toward unexpected adventures. Ever since discovering the wonder of Wayang Kulit performances, music has become a constant companion in his life. Combined with a curious mind and a brave heart, it is only a matter of time before his journet leads him to a kindred spirit, marking the begining of an unforgettable friendship. EMILY - DIGITAL

26 A Melody of Many Forms BRINGING IRAMA TO LIFE EMILY - DIGITAL LEFT: MARINA - DIGITAL MIDDILE: EMILY - TRADITIONAL RIGHT: ALIFF - DIGITAL

27 A solitary forest being who lives near a music campsite, where sound is its favourite companion. Responsive to rhythm, it can shapeshift based on music it hears, often mimicking cultural forms such as Wayang Kulit puppetry or the lively movements of a Lion Dance. Fascinated by human music but confused by how it works, Irama tries to imitate human‘s behaviour by picking up and playing instruments, but it is not as simple as it seems. Still, it continues to listen, learn, and hope for a friend who understands its rhythm. EMILY - DIGITAL

28 BRINGING ASLAN & IRAMA TO LIFE COLOUR PALETTE TEST DIYANA - DIGITAL

29 DISCORD DISCUSSION EMILY & DIYANA

30 The supporting characters were initially explored through a series of original concept sketches to populate the world of IRAMA. As the story developed, the team looked for ways to make the world feel more connected and lived in, leading to the idea of incorporating familiar faces from within our animation cohort. As a tribute to the collaborative spirit of our Final Year Project, two supporting characters—Ilyas and Hani—from the Ba Da Di Bam production were included as cameo appearances within IRAMA. Their inclusion serves as a small crossover between the two projects, celebrating the friendships and creative journey shared among the student production teams. This collaboration not only enriches the world of IRAMA but also reflects the sense of community that shaped our experience throughout the production process. SUPPORTING CHARACTERS DIYANA - DIGITAL

31 MAIN CHARACTERS FROM RAGA-MAN

32 PRE-PRODUCTION STORYBOARDS Storyboards served as the first opportunity to experience IRAMA as a complete visual narra- tive. Through sequences of drawings, scenes began to take shape, allowing us to explore composition, pacing, and cinematic storytell- ing long before animation started. Every frame became an opportunity to refine the emotional flow of the film while ensuring that each moment contributed meaningfully to the overall story. As revisions continued throughout production, the storyboards evolved alongside the script, reflecting new ideas and creative discoveries. They became an essential communication tool that connected every department and helped transform written ideas into moving images.

34 STORYBOARDS MARINA & DIYANA

38 The storyboard stage marked the first opportunity to bring IRAMA to life as a visual narrative. Starting from Emily’s original story concept, the team worked closely together to develop the film through discussions, brainstorming sessions, and continuous refinement. Diyana expanded the narrative into a structured script while Marina translated those ideas into storyboard panels, allowing the story to gradually take shape through visual storytelling. Throughout production, the storyboard remained an evolving process rather than a fixed plan. As ideas developed, scenes were reviewed, revised, and rearranged to improve the pacing, strengthen emotional moments, and create a smoother narrative flow. These iterations helped the team discover new storytelling opportunities and ultimately shaped the final version of the film. Beyond guiding the narrative, the storyboard became an essential production tool for the entire team. It established camera compositions, character staging, and scene transitions while providing clear visual references for the rough animation, background, and layout stages. By serving as a shared blueprint throughout production, the storyboard ensured that every department worked towards the same creative vision.

39 To support the storyboard and pre-production process, a series of scene sketches were created to explore camera composition and character staging from multiple perspectives. These included point-of-view shots, three-quarter views, side views, front and low-angle compositions, as well as top-down perspectives. By visualising each scene from different camera angles, the sketches helped establish spatial relationships, improve visual storytelling, and provide clearer direction for the storyboard, rough animation, and background production. These explorations served as visual guides throughout the production, allowing the team to better understand scene composition and maintain consistency across different stages of the animation pipeline. EMILY - DIGITAL

40 PRE-PRODUCTION VISUAL DEVELOPMENT Visual development became the foundation upon which the world of IRAMA was built. Through concept paintings, colour studies, lighting explorations, and atmosphere sketches, we searched for a visual language that captured both the wonder and quiet mystery of the forest. Rather than focusing solely on realism, each image was designed to evoke emotion and support the narrative. As the visual identity of the film became more defined, colour, composition, and texture worked together to establish a consistent mood across every environment. These explorations allowed us to shape not only how the world looked, but also how it felt to the audience.

42 THE WORLD OF IRAMA WAN - DIGITAL

43 Before Aslan could meet Irama, a world was built for their story to unfold. Nestled between a lively cultural campsite and the depths of a Malaysian rainforest, the world of IRAMA is filled with towering trees, lush natural landscapes and hidden corners waiting to be explored. From rough sketches and flora studies to background drawings and location concepts as can be seen in the music campsite map (left), each piece helped shape a world that are grounded and vibrant. A place where Aslan and Irama can share their fateful encounter through the wonder of music. EMILY - DIGITAL

44 WAYANG KULIT SHADOW PUPPETS During the visual development stage, cultural research played an important role in shaping the artistic direction of IRAMA. Early explorations of wayang kulit were initially based on Indonesian wayang kulit references, particularly in studying its distinctive silhouettes, expressive forms, and traditional storytelling elements. Through further discussion and research with the team, we recognised the importance of representing the cultural context more accurately, leading to a refinement of the visual approach. The design direction was then adjusted to incorporate elements from Malaysian Kelantanese wayang kulit, allowing the cultural aspects within IRAMA to feel more connected to its Malaysian identity. At the same time, references from Buto Babrah, a figure from Indonesian wayang traditions, continued to influence the design of the forest creature, particularly in its exaggerated forms and mythical presence. By combining these influences, the visual development of IRAMA became a reflection of the diverse cultural connections found across Southeast Asia. Rather than limiting the design to a single tradition, the film embraces the shared heritage, storytelling, and artistic expressions that exist within the region while developing a unique visual identity of its own.

45 MALAYSIAN WAYANG KULIT INDONESIAN WAYANG KULIT

46 PRE-PRODUCTION LAYOUT & BACKGROUND The environments of IRAMA were designed to become characters in their own right. Every location was carefully planned to support the story through composition, perspective, and scale, guiding the audience’s attention while creating a believable sense of place. From dense forests to quiet clearings, each background was crafted to strength- en the emotional atmosphere of every scene. Layout planning also played an important role in determining camera movement and staging. By establishing spatial relationships between characters and their surroundings, the layouts created a strong visual foundation for both background painting and animation.

48 WAN - DIGITAL

49 WAN - DIGITAL

50 WAN - DIGITAL

51 WAN - DIGITAL

52 PRE-PRODUCTION POSTERS A film’s poster serves as its first introduction to the audience, capturing the essence of the story within a single image. Throughout the production of IRAMA, several promotional posters were created to communicate different aspects of the film, from early teaser visuals that sparked curiosity to the final key artwork representing the completed story. Each poster was carefully designed with consideration for composition, colour, typography, and symbolism, ensuring that every visual reflected the tone and identity of the film while inviting audiences into the world of IRAMA.

54 TEASER POSTER WHO IS THIS?? The teaser poster was designed to spark curiosity without revealing too much of the story. By showing Irama only from behind, the artwork invites viewers to question the identity of the mysterious creature while hinting at the magical world hidden within the forest. The subtle sense of movement and the surrounding environment create an atmosphere of wonder, encouraging audiences to imagine what lies beyond the first glimpse. EMILY - DIGITAL

55 MAIN POSTER THE GANG’S ALL HERE The main poster captures the heart of IRAMA through a quiet moment shared between Aslan, Irama, and Aslan’s robotic companion. Rather than focusing on action or conflict, the composition highlights the bond between the characters as they rest together beneath the forest canopy, listening to music in harmony. Surrounded by nature, the scene reflects the film’s central themes of friendship, coexistence, and finding connection across different worlds. EMILY - DIGITAL

56 PRE-PRODUCTION ANIMATION Animation is where every design, sketch, and storyboard finally comes to life. Through movement, subtle expressions, and carefully timed performances, the characters began to communicate emotions that words alone could not express. Each sequence was refined through multiple stages, from rough animation to clean-up and final compositing, ensuring that every movement served the story. Particular attention was given to contrasting the physical qualities of the characters. While Aslan’s movements reflect curiosity and youthful energy, Irama’s animation was designed to feel fluid, graceful, and almost musical, reinforcing the mysterious rhythm that defines the character.

58 DIYANA - DIGITAL

59 DIYANA - DIGITAL

60 MARINA - DIGITAL

61 DIYANA - DIGITAL

62 ALIFF - EDITING

63 ALIFF - EDITING

64 PRE-PRODUCTION MARKETING & PROMOTION The marketing and promotion of IRAMA focused on introducing the film’s identity and building anticipation before its release. Through teaser visuals, character reveals, posters, and social media posts, the campaign gradually shared the world of IRAMA while maintaining its sense of mystery. Each piece of content was designed to reflect the film’s tone and visual language, ensuring a consistent experience across all platforms. Social media, especially Instagram & TikTok, or even our website, played an important role in connecting with audiences and showcasing the development process, allowing IRAMA to be experienced beyond the screen as it was being created.

66 GROUP POSTERS

67 TEAMMATES POSTERS

68 SYNOPSIS POSTER TEASER POSTER ALIFF - DIGITAL

69 FAN ART SUBMISSION POSTERS

70 PRE-PRODUCTION MERCHANDISE Extending beyond the screen, IRAMA was imagined as a world audiences could continue to experience through collectible merchandise and printed materials. These products celebrate the characters, environments, and visual identity of the film while allowing fans to carry a small piece of its story with them. From illustrated postcards and stickers to character keychains, poster prints, and other keepsakes, each item was thoughtfully designed to remain faithful to the artistic direction established throughout the production. Together, they demonstrate how the visual language of IRAMA can continue beyond animation into tangible experiences.

72 STICKER SHEET & DIE CUT STICKERS POSTERS

73 KEYCHAINS POSTCARDS

74 BOOKMARKS IRAMA PILLOW BUTTON BADGES

75 EXCLUSIVE T-SHIRT

76 PRE-PRODUCTION STANDEES Designed as part of the film’s exhibition and promotional display, the IRAMA standee brings the characters into a physical space where audiences can engage with the world beyond the screen. More than a display piece, it serves as an extension of the film’s visual identity, combin- ing illustration, composition, and environmental design to create an inviting experience for visitors. Its design carefully balances aesthetics and functionality, ensuring that it not only captures attention but also reflects the warmth, wonder, and spirit that define IRAMA.

78 STANDEE PLAN

79 EMILY - DIGITAL

80 PRE-PRODUCTION MEET THE TEAM Every animated film is made possible through collaboration, bringing together individuals with different skills and creative perspectives. While IRAMA began as a single story idea, it gradually evolved through the dedication, creativity, and teamwork of every member of BMA Studio. From story development and visual design to animation and post-production, each member played an important role in bringing the film to life. This section introduces the team behind IRAMA and highlights the unique contributions that shaped the project. Together, our shared passion for storytelling transformed an idea into the world of IRAMA.

82 Team Members: • Ng Ying Hui • Diyana binti Saiful ‘Adli • Wan Nur Azizah binti Zahari • Marina binti Munawar • Muhammad Aliff bin Rahmatuliladin Supervisor’s Name: Dr. Mohd Ekram Al Hafis bin Hashim EMILY NG Director, Art Director & Visual Development DIYANA Script Assistant & Colour Scripter

83 MARINA Lead Animator WAN Background & Clean-up Artist ALIFF VFX Artist & Editor

84 PRE-PRODUCTION BEHIND THE SCENES Every finished frame represents countless hours of planning, experimentation, collaboration, and revision. While audiences often see only the final film, the creative process behind IRAMA involved continuous discussions, problem-solving, and shared discoveries among the production team. This section offers a glimpse into those moments behind the scenes—from brainstorming sessions and production meetings to late-night revisions, collaborative feedback, and the everyday experiences that shaped the project. It celebrates not only the finished work, but also the people, challenges, and memories that made the journey meaningful.

86 CONSULTAIONS ASSESMENTS BTS WORK THESIS PRESENTATION

90 PRE-PRODUCTION FAN ART One of the most rewarding moments in creating IRAMA has been seeing the world continue to grow through the creativity of others. Fan art represents more than appreciation—it reflects the personal connections audiences form with the characters, themes, and emotions of the film. Each interpretation offers a unique perspective while celebrating the imagination that inspired the story in the first place. This collection showcases a selection of artworks created by artists who have shared their own visions of IRAMA. Their creativity reminds us that stories continue to evolve long after they leave the hands of their creators.

92 jminglow @jminglow Aina Farhana @ainaakii Selfie with the Gang A Musical Stroll Rah His Greed Sickens Me

93 Akam @artkamshh Luqmanke @luqmanke For Tummy Irama Fanart Astraeus @asstraeus_ Aslan & Irama on the Commute

94 Isma Hashan @iamishima ly @aalyfan Azrulak @azrul_ak Irama Fanart With You My Irama

95 Alinanas @anakapril Faerina @Ashfaery “saje sappot for Emily and her groupmates lol” Touching the Sound

96 Danish Aiman @artsy.dan Mj Experience ArmKnee @arm_kneee Irama Redbeat Peroz @diabolicalfairuz Find Our Tune

97 Ling @Lynling_lynling Forever Corrico @corrico.art Irama Fanart Bunny @bunnybunjoy_art Best Duo