Adiyapi is a short film that takes place in Java, Indonesia, during the Dutch colonialism era in 1816. The film tells a story about a farmer named Panakardi (Pandu Wijaya), who lived with his wife Naridja (Sistha Ardani) and their five children. One day a group of Dutch officers led by Jan Bakker (Arjan Onderdenwijngaard) visited their house. Disagreement occurred and problems emerged; a mishap changed the family's life forever.

I was involved with the whole production from the beginning until the last phase, from helping the director shaping the world until making some key arts for the promotional material. I was tasked with some job desks including production design, storyboarding, graphic design, title design, and key art design.

Aside from being a Storyboard Artist, I helped the director, Kevin Geraldo, in the pre-production stage as Production Designer. My job was to research the period in order to correctly recreate the setting in 1816 Java where the story takes place. This included designing a farmer's house complete with the exterior and interior sets. The design of the house (and its surrounding) was changed several times due to the shooting location. Eventually, we found a little warehouse in Batu, Malang, East Java that had a cabbage field beside and therefore would fit what the story needs. 

We turned the warehouse into a farmer's house by replacing the iron sheeting walls with traditional rattan webbing and covering the roof with coconut leaves. Together with art director Theodore Johan and set decorator Adi Djohan, we bought traditional Indonesian household items in a traditional market in Batu and aged them to fill the interior sets.

As a Graphic Designer in the pre-production stage, my job was to make graphic props which are basically everything that has typography, picture, or even pattern such as documents, newspapers, letters, etc. One hero prop that popped up in the script was a Dutch document containing announcement and regulation from the Dutch government to the Indonesian people. In order to make both the director and the actors fully immersed in the story, I also made some other graphic props to complete the set, including Dutch newspapers (in which I hand drawn the heraldry), letters, and a list of names that belongs to one of the character. We then aged the graphic props to make the documents look a bit old so that the viewers could relate to the time setting.

My job continued until the post-production stage, where I had to make the logotype for the film as well as designing the key art that would be applied to promotional posters. The photography was perfectly handled by the director himself.

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